Platemark: prints and the printmaking ecosystem

In this episode of Platemark, host Ann Shafer talks with renowned printmaker Jenny Robinson who recently opened up her eponymous print shop in Sydney, Australia. Jenny shares her experiences moving from America to Slovenia during the Trump era, integrating into Slovenia's printmaking community, and ultimately relocating to Sydney, Australia, to establish her print atelier. We talk about the challenges of getting different materials and the cultural contrasts in the art scenes of America, Europe, and Australia, backing and seaming prints with gampi (thanks to Paul Mullowney's tutelage), flying with rolled prints in golf bags (for free!), and the Mario Avati Prize, which led to a one-person exhibition in the Institut de France in Paris, across the river from the Louvre. The episode also touches upon the extensive network and collaborative spirit of printmakers and Jenny's summer residency at Flatbed Press in Austin, TX. Throughout the conversation, Jenny emphasizes the significance of artist visits, educational resources in art, and her ambitions for large-scale prints and workshops in her new Sydney studio. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook International Center of Graphic Arts (Mednarodni grafični likovni center), Ljubljana, Slovenia. Photo by Jaka Babnik. Jenny Robinson (British, born 1957). Architectural Anomalies Series #2: Cornerstone. Drypoint on Gampi. 40 x 60 in. Courtesy of the Artist. Jenny Robinson (British, born 1957). Palm House Series #2: The Glass House. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist. Jenny Robinson pinning up Palm House Series #2: The Glass House. Jenny Robinson (British, born 1957). Palm House #1, 2021. Drypoint on Gampi. 137 x 300 cm. Courtesy of the Artist. Jenny Robinson (British, born 1957). Paradigm. Drypoint on Gampi, backed with Sekishu. 60 x 80 in. Courtesy of the Artist. Jenny Robinson (British, born 1957). Above L.A. Drypoint and monoprint. Sheet: 51 x 34 in. Courtesy of the Artist. Jenny Robinson (British, born 1957). Hidden Lines, Fragile Frameworks, 2021, Drypoint on Gampi and Mulberry paper. Each: 150 x 98 cm. Courtesy of the Artist. Jenny Robinson's converted warehouse home, Sydney. Jenny Robinson was awarded the Mario Avati Prix de Gravure in 2019. Solo exhibition took place at Le Pavillion comtesse de Caen, Academie des Beaux Arts, September 2021. Installation shot of Jenny Robinson's exhibition for the Mario Avati Prix de Gravure, Le Pavillion comtesse de Caen, Academie des Beaux Arts, Paris, September 2021. Institut de France, Paris, 2021. Installation shot of Jenny Robinson (British, born 1957). Structures, 2019. Drypoint on Gampi. Courtesy of the Artist. Jenny Robinson Print Studio, Sydney. Jenny Robinson Print Studio, Sydney.

In s3e63 of Platemark, podcast host Ann Shafer talks with collaborative printer Peter Pettengill. Peter founded Wingate Studio in 1985 on his family's dairy farm in Hinsdale, NH. Originally trained at Crown Point Press, Peter specializes in multi-plate color etchings. Now semi-retired, Peter's son James has taken over the operating of the shop, though Peter lends a hand when requested. They talk about Peter's early experiences at Crown Point Press, his work with celebrated artists such as John Cage, Sol LeWitt, and Walton Ford, and the technical and creative complexities of creating fine art prints. Peter reflects on his transition to semi-retirement, the passing of his studio to his son James, and the historical and artistic significance of their family farm turned artist residency. This episode offers listeners an insightful look into the dedication required in printmaking, the balance between creativity and technical skill, and the supportive community that underpins the art world. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Robert Mapplethorpe (American, 1946–1989). Plate from the portfolio A Season in Hell, 1986. Photogravure printed with relief roll. Published by Limited Editions Club, photogravures by Jon Goodman and printed by Wingate Studio, text printed by Wild Carrot Press. Sol LeWitt (American, 1928–2007). Crown Point, 1980. Bound volume with photoetchings. Plate (each) 2 ½ x 2 ½ in.; sheet (each) 11 x 11 in. Published by Crown Point Press, printed by Kevin Parker. Joan Jonas (American, born 1936). Double Wheel, 1982. Color aquatint. Plate and sheet: 24 x 36 in. Published by Crown Point Press, printed by Peter Pettengill. Sol LeWitt (American, 1928–2007). Complex Forms, 1990. Hard ground etching. Sheet: 36 x 36 in.; plate: 30 x 30 in. Printed by Wingate Studio. John Cage (American, 1912–1992). Ryoku No. 4, 1985. Color drypoint. Plate: 18 x 24 in.; sheet: 18 x 24 in. Published by Crown Point Press, printed by Marcia Bartholme. John Cage (American, 1912–1992). EninKa, 1986. One of 50 smoked paper monotypes with branding on gampi paper chine collé. Sheet: 18 ½ x 24 ½ in. Published by Crown Point Press, printed by Marcia Bartholme. Walton Ford (American, born 1960). Swadeshi-cide, 1998–99. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 36 x 24 in.; sheet: 44 x 31 in. Published by Blue Heron Press, printed by Wingate Studio. Walton Ford (American, born 1960). Baba–B.G., 1997. Mixed media. 105 x 74 cm. Paul Kasmin Gallery. Walton Ford (American, born 1960). Bangalore, 2004. Six-plate aquatint etching with dry point, hard ground, soft ground, spit bite and sugar lift. Plate: 12 x 9 in.; sheet: 21 1/2 x 16 in. Published by Kasmin Gallery, printed by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Ambreen Butt (American, born Pakistan, 1969). Plate from Daughter of the East, 2008. Six-plate aquatint etching with chine collé, dry point and spit bite. Plate: 13 x 18 in. ; sheet: 25 x 19 in. Printed and published by Wingate Studio. Xylor Jane (American, born 1963). Plate from Cat Hearts, 2023. Four-plate aquatint etching with sugar lift. Plate: 23 3/4 x 27 1/4 in.; sheet: 28 5/8 x 32 1/4 in. Printed and published by Wingate Studio. Xylor Jane (American, born 1963). Third Order Magic Square for Deep Sleep, 2014. Three-plate aquatint etching. Plate: 17 3/4 x 15 1/2 in.; sheet: 24 1/2 x 21 3/4 in. Published by Wingate Studio. Walton Ford (American, born 1960). Nantes, 2009. Two-plate aquatint etching with dry point, hard ground, and spit bite. Plate: 40 x 30 in.; sheet: 48 x 37 in. Published by Kasmin Gallery, printed by Wingate Studio. Daniel Rios Rodriguez (American, born 1978). South Parish, 2017. Single-plate aquatint etching with burnishing, dry point, electric engraving, hard ground and soft ground. Plate: 20 x 17 in. (oval); sheet: 22 x 30 1/2 in. Published by Wingate Studio. Gideon Bok (American, born 1966). Wingate Studio with Aldo's Press, Threnody for R.L. Burnside, 2005. Three-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 36 in.; sheet: 20 x 44 in. Printed and published by Wingate Studio. Photo: Stephen Petegorsky. Gideon Bok (American, born 1966). Wingate Studio with Aldo's Press, No Sleep 'Til Hinsdale, 2008. Five-plate aquatint etching with burnishing, dry point, hard ground, sugar lift and white ground. Plate: 12 x 3

In this five-part mini-series, Ann is talking to five artists who were selected to be included in an exhibition called 5X5, that was part of Print Austin's winter festival this year in 2024. The juror of the show is Mysczka Lewis, who is a curator at Tandem Press. Next up is Teresa Cole, an artist and printmaker from New Orleans. She has taught at Tulane University for nearly thirty years. Teresa's interest in the humanness of pattern has been a throughline in her work and she incorporates different cultures' methods of patternmaking and storytelling in beautiful installations. In their conversation, they talk about orizome (a Japanese method of folding and dyeing paper), commissioning printed fabric for saris in India, printing on aluminum mesh, and Tulane's tuition-free master's program. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Teresa Cole (American, born 1961). Exchange. Installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans. Photo: Neil Alexander. Teresa Cole (American, born 1961). Exchange. Pre-installation shot of printed stainless steel and aluminum cylinders. Freeman School of Business, Tulane University, New Orleans. Teresa Cole (American, born 1961). Cosmati, 2021. Hand-cut Washi. 26 x 18 in. Courtesy of the Artist. Teresa Cole (American, born 1961). Tessellation Entanglement, 2021. Screenprinted porcelain. 4 x 8 feet. Courtesy of the Artist. Teresa Cole (American, born 1961). Redeem, 2023. Puff paint screenprinted on digital velvet. Installation view at WhiteSpace Gallery, January–February 2023. Teresa Cole (American, born 1961). Bee Pattern, 2014. Screenprint. 25 x 16 in. Courtesy of the Artist. Teresa Cole (American, born 1961). Infusion, 2017. Dyed relief printed Washi with bamboo. 48 x 117 in. Courtesy of the Artist. Teresa Cole (American, born 1961). Saturate 2.0, 2017. Dyed relief printed Washi with bamboo. Courtesy of the Artist. Printing fabric at Kanishka, India. Hand-carved printing blocks carved for the artist at Kanishka, India. Teresa Cole (American, born 1961). Seep, 2015. Process shot. Courtesy of the Artist. Teresa Cole (American, born 1961). Seep, 2015. Relief printed and dyed Japanese paper with bamboo sticks. Installation at Artfields. Courtesy of the Artist. Teresa Cole (American, born 1961). Seep, 2015 (left). Relief printed and dyed Japanese paper with bamboo sticks. Installation at Callan Contemporary, 2025. Courtesy of the Artist. Teresa Cole (American, born 1961). Tangled Conquest, 2015. Relief printed on folded and dyed paper with sumi and walnut. 65 x 77 x 25 in. Courtesy of the Artist.

Wondering how far you can take chine collé in a project? Listen in as Annalise Gratovich tells us all about this method of adding thin pieces of hand-dyed papers to giant woodcuts. In s3e61 of Platemark, podcast host Ann Shafer continues talking to artists included in Print Austin's 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Next up is artist Annalise Gratovich. Annalise works in woodcut primarily (and etching), and is best known for her monumental woodcuts with multiple dyed papers glued down by chine collé. We take a deep dive into the ins and outs of chine collé, her Ukranian heritage and inherited trauma, cuteness as a means to help viewers access difficult subjects, and her recent battle with a mystery autoimmune disease. § Platemark website § Sign-up for Platemark emails § Leave a 5-star review § Support the show § Get your Platemark merch § Check out Platemark on Instagram § Join our Platemark group on Facebook Annalise Gratovich (American, born 1989). The Healer, from the series Villagers Carrying Things from Home, 2023. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Mariner, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Mother, from the series Villagers Carrying Things from Home, 2019. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Undertaker, from the series Villagers Carrying Things from Home, 2021. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Builder, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Hunter, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Courtesy of the Artist. Annalise Gratovich (American, born 1989). The Musician, from the series Villagers Carrying Things from Home, 2013–15. Woodblock print with chine collé elements. 71 x 40 in. Installation view, Flatbed Press, Austin, TX, 2024. Installation view, Plains Art Museum, Fargo, North Dakota, 2023. Annalise Gratovich pulling The Healer at Flatbed Press, Austin, TX. USEFUL LINKS IG: @annalisegratovich FB: https://www.facebook.com/annagratovich Website: https://annalisegratovich.com/ Mesh Art Gallery: https://meshartgallery.com/collections/annalise-gratovich Flatbed Press: https://flatbed-press.myshopify.com/collections/annalise-gratovich

Enlightenment publications on human anatomy changed the way artists understood their place in the world. Check out these examples of life-changing images brought to you by prints in books! In s2e31 of Platemark's History of Prints series, Tru and Ann continue their discussion of the Enlightenment. This time they look at several publications that put forward new discoveries about human anatomy: William Hunter's The Anatomy of the Human Gravid Uterus, Bernhard Siegfried Albinus' Tabulae sceleti et musculorum corporis humani, and Jacques Fabien Gautier d'Agoty's Myologie complette en couleur et grandeur naturelle. They conclude with Denis Diderot's Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers, a 17-volume tome that attempted to define and codify all of human knowledge. At the end of the episode, Ann and Tru wax philosophical about how incredible this blossoming of human knowledge is, and how talking about it makes each of them think about our place as humans on the planet. It gets a bit deep, but worthwhile. A. Hadamart. Exhibition of the Royal Academy of Painting and Sculpture in the Grande Galerie of the Louvre, 1699. Engraving. Gabriel de Saint-Aubin (French, 1724–1780). Vue du Louvre en l'année 1753, 1753. Etching. Plate: 5 13/16 x 7 1/8 in. (14.8 x 18.1 cm.); sheet: 6 ¼ x 7 5/8 in. (15.8 x 19.3 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1785, 1785. Etching. Plate: 10 7/8 x 19 1/8 in. (27.6 x 48.6 cm.); sheet: 14 1/4 x 20 3/4 in. (36.2 x 52.7 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797). View of the Salon of 1787, 1787. Etching. Plate: 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York. Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). The Exhibition of the Royal Academy 1787, 1787. Engraving. Plate: 36.1 x 49.9 cm. British Museum, London. Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris. Sir Joshua Reynolds (British, 1723–1792). Lady Sarah Bunbury Sacrificing to Graces, 1765. Oil on canvas. 242.6 × 151.5 cm. (95 1/2 × 59 3/4 in.). Art Institute of Chicago. Sir Joshua Reynolds (British, 1723–1792). Lord Heathfield of Gibraltar, 1787. Oil on canvas. 142 x 113.5 cm. National Gallery, London. Pietro Antonio Martini (Italian, 1738–1797). Salon de 1787: view of the Salon Carre at the Louvre during the painting exhibition in Paris, 1852. Engraving. From Frank Leslie's Popular Monthly. Jean-Antoine Houdon (French, 1741–1828). Voltaire Seated, 1781. Terra-cotta. 120 cm. tall. Musée Fabre, Montpellier. Jean Honoré Fragonard (French, 1732–1806). Les hasards heureux de l'escarpolette (The Swing), c. 1767–68. Oil on canvas. 81 x 64.2 cm. The Wallace Collection, London. Jean-Antoine Houdon (French, 1741–1828). Benjamin Franklin, 1778. Marble. 23 1/8 × 14 1/2 × 11 1/4 in. Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). The Anatomy Lesson of Dr. Nicolaes Tulp, 1632. Oil on canvas. 216.5 × 169 ½ cm. (85 1/4 × 66 5/8 in.). Mauritshuis, The Hague. William Hunter (British, 1718–1783). Title page from The Anatomy of the Human Gravid Uterus. Birmingham: John Baskerville, 1774. Jan van Rymsdyk (Dutch, c. 1730–1790). Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Leonardo da Vinci (Italian, 1452–1519). Sketchbook page: the female genetalia and fetus in the womb, c. 1511. Black and red chalk, pen and brush and ink. The Royal Collection. Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London. Roman copy of Greek marble. The Dying Gaul, late 3rd century BCE. Marble. Capitoline Museums, Rome. William Pink (British, 1809–1857), after Agostini Carlini (British, born Italy, c. 1718–1790). Smugglerius, c. 1834. Plaster. Royal Academy of Arts, London. Thomas Banks (British, 1735–1805). Anatomical Crucifixion (James Legg), 1801. Plaster cast. Royal Academy of Arts, London. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Title page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae sceleti et musculorum corporis humani. London: H. Woodfall, 1749. Bernhard Siegfried Albinus (Dutch, born German, 1697–1770). Page from Tabulae

In Platemark's History of Prints series, we are leaving the Baroque behind and are turning to the Enlightenment. The late seventeenth and eighteenth century is a fascinating time when social ideas focused on the value of knowledge in all sectors. Rationalism and empiricism led to the scientific revolution, the separation of church and state, literary salons, and for the purposes of this episode, art academies. The era saw the establishment of taxonomies, dictionaries, encyclopedias, and studies of foreign cultures. The results of all of these studies led to both good and bad, leading Tru and I to discuss alternate terms for the era beyond the Enlightenment: the Endarkenment and the Enwhitenment. Listen in as we parse out this fascinating moment in history. You can listen to Platemark or watch a video version. Links to all the possibilities are on the episode page at www.platemarkpodcast.com. George Peabody Library, Johns Hopkins University, Baltimore. Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Aerial view of Versailles. Nicolas Poussin (French, 1594–1665). Et in Arcadia ego, 1637–38. Oil on canvas. 85 × 121 cm. (34 1/4 × 47 1/4 in.). Louvre, Paris. Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles. Façade of the Louvre Museum. Nicolas Poussin (French, 1594–1665). Landscape with St. John Patmos, 1640. Oil on canvas. 100.3 × 136.4 cm (39 1/2 × 53 5/8 in.). Art Institute of Chicago, Chicago. Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust. Raphael (Italian, 1483–1520). School of Athens, 1509–11. Stanza della Segnatura, Apostolic Palace, Vatican. Roman. Laocoön and His Sons, 27 BCE–68 CE. Marble. 208 × 163 × 112 cm. (82 × 64 × 44 in.). Museo Pio-Clementino, Vatican City. Wax ecorché figure. Science Museum, London. Johann Zoffany (German, 1733–1810). William Hunter Lecturing, 1770–72. Oil on canvas. Royal College of Physicians, London. Anton von Maron (German, 1733–1808). Portrait of Johann Joachim Winkelmann, 1767. Oil on canvas. 136 x 99 cm. (53 ½ x 38 7/8 in.). Collection of Schloss Weimar, Weimar, Germany. Jacques-Louis David (French, 1748–1825). The Oath of the Horatii, 1784/85. Oil on canvas. 10.8 x 13.9 ft. Louvre Museum, Paris. Jan van Riemsdyck, Plate VI from The Anatomy of the Human Gravid Uterus. London: S. Baker & G. Leigh, 1774. Engraving. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York. Denis Diderot (French, 1713–1784). Title page and frontispiece from Encyclopédie, ou dictionnaire raisonné des sciences, des arts et des métiers. Paris : André le Breton, Michel-Antoine David, Laurent Durant, and Antoine-Claude Briasson, 1751–72.

African-American artist Dox Thrash is in the spotlight on s3e60 of Platemark. Podcast host Ann Shafer speaks with Ron Rumford, director of Dolan/Maxwell, a private gallery in Philadelphia, which has a particular specialty in the prints of Stanley William Hayter and the associated artists of Atelier 17, as well as Black artists of the same era, such as Dox Thrash, Bob Blackburn, Norma Morgan, Elizabeth Catlett, Ed Clark, and more. Ron was eager to highlight an exhibition focused on Dox Thrash, which is on view at the African American Museum of Philadelphia through August 4, 2024. They talk about Thrash and his invention of the carborundum mezzotint, Bob Blackburn's Printmaking Workshop and its relationship to Atelier 17 and Hayter, the monumental importance of the WPA printmaking division, and Ballinglen, an artist residency and gallery founded by Peter Maxwell and Margo Dolan in Ballycastle, a tiny farming town in County Mayo, Ireland. Dox Thrash (American, 1893–1965). Sunday Morning, c. 1939. Etching. Sheet: 12 5/8 x 10 5/8 in.; plate: 8 7/8 x 7 7/8 in. Metropolitan Museum of Art, New York. L-R: Krishna Reddy, Stanley William Hayter, Robert Blackburn, and friend, 1980s, at Reddy's studio. Hayter at the press with lithography press behind him, Atelier 17 in New York. Photo of Pennerton West with fellow artists including Augusta Savage and Norman Lewis. Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Pennerton West (American, 1913–1965). Troll in the Grain, 1952. State proof; color etching and lithography. Image: 14 ¾ x 17 ¾ in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Georgia Cotton Crop, c. 1944–45. Carborundum mezzotint. Plate: 8 7/16 x 9 7/8 in.; sheet: 11 ¼ x 11 3/4. in. Dolan/Maxwell Gallery, Philadelphia. Dox Thrash (American, 1893–1965). Ebony Joe, c. 1939. Lithograph. Sheet: 10 5/8 x 8 7/8 in. Saint Louis Art Museum, St. Louis. Dox Thrash (American, 1893–1965). Octoroon (Study for a Lithograph), c. 1939. Brush and ink wash over graphite. Sheet: 16 7/8 x 12 ¼ in. Philadelphia Museum of Art, Philadelphia. Dox Thrash (American, 1893–1965). Octoroon, c. 1939. Lithograph. Sheet: 22 13/16 x 11 9/16 in. Collection of John Warren, Philadelphia. Dox Thrash (American, 1893–1965). Charlot, c. 1938–39. Carborundum mezzotint. Plate: 8 15/16 x 6 15/16 in. Dolan/Maxwell, Philadelphia. Michael Gallagher (American, 1895–1965). Lackawanna Valley, 1938. Carborundum mezzotint. Plate: 7 3/8 x 12 11/16 in.; sheet: 9 3/8 x 14 in. Philadelphia Museum of Art, Philadelphia. Hugh Mesibov (American, 1916–2016). Homeless, 1938. Carborundum mezzotint. Plate: 5 3/8 x 10 3/8 in. Pennsylvania Academy of Fine Arts, Philadelphia. Dox Thrash (American, 1893–1965). One Horse Farmer, c. 1944–48. Carborundum mezzotint. 9 x 6 in. National Museum of American History, Smithsonian Institution, Washington, D.C. John Ruskin (British, 1819–1900). The Garden of San Miniato near Florence, 1845. Watercolor and pen and black ink, heightened with whie gouache, over graphite. Sheet: 13 7/16 x 19 3/8 in. National Gallery of Art, Washington, D.C. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio). Sheet: 495 x 647 mm. (19 1/2 x 25 1/2 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), and green (screen, relief). Sheet: 460 x 660 mm. (18 1/8 x 26 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving and softground etching; printed in black (intaglio), orange (screen, relief), and purple (screen, relief). Sheet: 510 x 666 mm. (20 1/16 x 26 1/4 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Stanley William Hayter (English, 1901–1988). Cinq personnages, 1946. Engraving, softground etching, and scorper; printed in black (intaglio), green (screen, relief), orange (screen, relief), and purple (screen, relief). Sheet: 488 x 668 mm. (19 3/16 x 26 5/16 in.); plate: 376 x 605 mm. (14 13/16 x 23 13/16 in.). Baltimore Museum of Art, Baltimore. Ballinglen Arts Foundation, Ballycastle, County Mayo, Ireland. USEFUL LINKS Imprint: Dox Thrash, Black Life, and American Culture. African American Museum in Philadelphia, March 23–August 4, 2024. https://www.aampmuseum.org/current-exhibitions.html John Ittmann. Dox Thrash: An African American Master Printmaker Rediscovered. Philadelphia: Philadelphia Museum of Art, 2001. https://archive.org/details/doxthrashafrican00ittm Dox Thrash House, Philadelphia: https://doxthrashhouse.wordpress.com/ Ballinglen Arts Foundation: https://www.ballinglenartsfoundation.org

In s3e59, Platemark host Ann Shafer sits down with David Avery to talk shop. David is an etcher, who restrains his work in both size and palette, but manages to tackle big topics. His social commentary is stinging and remarkable in that it comes in such a small package. These etchings pack a punch. Ann and David talk about absurdist literature, standing on the shoulders of giants (Dürer, Max Klinger, Della Bella), how prescient Goltzius's Disgracers are, and how we could never have imagined the state of our politics—reality is outstripping our imaginations. Cover image: Patricia Avery Max Klinger (German, 1857–1920). Abduction (plate 9 from Paraphrase on the Finding of a Glove), 1881. Etching, drypoint, and aquatint on chine collé. Sheet: 18 15/16 x 26 in. Metropolitan Museum of Art, New York. David Avery (American, born 1952). Obeliscolycny, 2013. Etching. Plate: 27 ¾ x 5 in.; sheet: 33 5/8 x 10 in. Courtesy of the Artist. David Avery (American, born 1952). Safe, Clean, Cheap: Phaethon in the 21st Century, 2011. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist. David Avery (American, born 1952). Too Close to the Sun, 2013. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist. David Avery (American, born 1952). Running on Empty, 2016. Etching. Plate: 6 x 6 in.; sheet: 11 x 12 in. Courtesy of the Artist. David Avery (American, born 1952). Mendacia Ridicula (The Wheel of Ixion), 2018. Etching. Plate: 6 x 6 in.; sheet: 12 x 11 in. Courtesy of the Artist. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). The Four Disgracers, 1588. Engraving. Metropolitan Museum of Art, New York. David Avery (American, born 1952). Ship of Fools (Das Narrenschiff), 2018.Etching. Plate: 14 ¼ x 7 ½ in. Courtesy of the Artist. David Avery (American, born 1952). After the Deluge, 2022. Etching. Plate: 10 ½ x 7 ¾ in. Courtesy of the Artist. David Avery (American, born 1952). Becalmed, 2023. Etching. Plate: 6 x 15 ¾ in.; sheet: 10 x 18 ¾ in. Courtesy of the Artist. David Avery (American, born 1952). Concerning The Great Ship MOUR-DE-ZENCLE, 2016. Etching. Plate: 12 ¾ x 6 ¼ in.; sheet: 18 ¼ x 11 in. Courtesy of the Artist. David's galleries https://www.inclusionsgallery.com/ https://www.warnockfinearts.com/david-avery https://childsgallery.com/artist/david-avery/

In s3e59, Platemark host Ann Shafer continues talking to artists included in Print Austin's 5x5 exhibition, juried by Myzska Lewis, a curator at Tandem Press. Second up is Anna Trojanowska, an artist and lithographer from Wroclaw, Poland. Anna creates collages made from lithographs, which she creates on a single marble slab in her garage studio. The works included in 5x5 seek to give the feeling of echolalia, a form of autism in which words and phrases are repeated over and over. That repetition is a central part of the collages and gives the feeling of uncontrolled reverberation. Ann and Anna talk about falling in love with lithography, what it's like to use marble instead of limestone, how the veins in marble wander as the stone is ground down, how to transfer sound into images, and the surprise technique she would turn to if she had to give up lithography. Cover image by Marcin Simonides Anna Trojanowska (Polish, born 1978). Echolalia_12, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna Trojanowska (Polish, born 1978). Echolalia_14, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna Trojanowska (Polish, born 1978). Echolalia_16, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna Trojanowska (Polish, born 1978). Echolalia_19, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna Trojanowska (Polish, born 1978). Echolalia_20, 2022. Carrara marble lithograph, collage. 16 x 12 in. Courtesy of the Artist. Anna's website: https://litografia.pl/en/authors/

In s3e57, Platemark host Ann Shafer speaks with Karen Kunc, an artist who manipulates reduction woodcuts in an amazing and unique way. Karen is a retired professor from the University of Nebraska, and is owner of Constellation Studios in downtown Lincoln. At the studio, which opened ten years ago, Karen offers workshops, curates exhibitions, and makes her own work. The studio includes equipment for papermaking, book arts, letterpress, and other means of creating prints. Karen's work includes relief prints and artist books reflecting her signature nature-based lyrical abstraction. These images could be macro or micro: the biomorphic shapes could be aerial images of her native Nebraska, or the wiggles and squiggles could be forms held within our cells. Each print becomes a portal to an alternate reality, where the boundaries between the tangible and the intangible blur, inviting us to explore the complexities of our earthly domain. This all sounds simple, but Karen's process is anything but. She uses stencils, fingers, hands, brushes and any other tool to gain amazing transitions between forms. Plus, she intuitively solves compositional challenges as she goes. Karen is an artist's artist whose groundbreaking woodcuts will amaze and delight you. Karen Kunc (American, born 1952). Array of Raressence, 2018. Woodcut. 72 x 26 in. Courtesy of the artist. Karen Kunc (American, born 1952). Coral Sanctuary, 2019. Woodcut. 72 x 26 in. Courtesy of the artist. Karen Kunc (American, born 1952). Blue Cascade, 2020. Woodcut. 14 1/2 x 42 in. Courtesy of the artist. Karen Kunc (American, born 1952). Gatherings, 2021. Woodcut. 14 x 29 in. Courtesy of the artist. Karen Kunc (American, born 1952). Distillation, 2018. Woodcut, etching, pochoir, and watercolor. 12 x 24 in. Courtesy of the artist. Karen Kunc (American, born 1952). Sacred Allegori, 2018. Woodcut, etching, pochoir, and watercolor. 24 x 24 in. Courtesy of the artist. Karen Kunc (American, born 1952). Drifts of Ice & Gold, 2022. Woodcut. 17 x 56 in. Courtesy of the artist. Karen Kunc (American, born 1952). Blooms of the Present Moment, 2023. Woodcut. 17 x 56 in. Courtesy of the artist. Karen Kunc (American, born 1952). Waves of Riches, 2016. Woodcut and pochoir. 13 1/2 x 57 in. Courtesy of the artist. Karen Kunc (American, born 1952). Panoply, 2016. Woodcut and pochoir. 13 1/2 x 57. Courtesy of the artist. Karen Kunc (American, born 1952). Verse from Macrocosmica, 2010. Woodcut. 29 x 24 in. Courtesy of the artist. Karen Kunc (American, born 1952). Release, 2020–21. Accordion-folded volume with etching, woodcut, and letterpress on various Japanese Nishinouchi papers. Closed: 7 x 4 in.; open: 7 x 56 in. Published by Blue Heron Press at Constellation Studios, Lincoln, Nebraska. Courtesy of the artist. Karen Kunc (American, born 1952). The Way of Water, 2024. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 7 1/2 in.; open: 11 x 45 in. Courtesy of the artist. Karen Kunc (American, born 1952). Incessant White Noise, 2013. Accordion-folded volume with woodcut and letterpress on Japanese Nishinouchi. Closed: 11 x 5 in; open: 11 x 35 in. Courtesy of the artist. Constellation Studios, Lincoln, NE.

In s3e56, Platemark host Ann Shafer introduces a five-part miniseries with the artists in 5X5, an exhibition that was part of PrintAustin 2024. First up is Briar Craig, one of five artists selected for inclusion in 5X5 by juror J. Myszka Lewis, curator at Tandem Press, University of Wisconsin–Madison. Briar is an artist and professor at University of British Columbia, Kelowna. He primarily works in screenprint, using found text and surprising juxtapositions. Ann and Briar talk about words and their unlikely combinations, Dada poetry, UV screenprints, his favorite color, and the only text-based tattoo that has tempted him so far. Briar Craig (Canadian, born 1961). UTOPIAN VACUUM, 2017. UV screenprint. 40 x 28 in. Courtesy of the Artist. Briar Craig (Canadian, born 1961). An Uncomfortable Situation Will Soon be Eased, UV screenprint. 40 x 28 in. Courtesy of the Artist. Installation view of Briar Craig: README. January 29–April 17, 2022. Kelowna Art Gallery, Kelowna, BC, Canada. Briar Craig (Canadian, born 1961). White Wash Privilege, 2014. UV screenprint. 40 x 28 in. Courtesy of the Artist. Sam Gilliam (American, 1933–2022). 3 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD. All rights reserved. Courtesy of Lily Press. Sam Gilliam (American, 1933–2022). 4 PM School Bus, 2018. Screenprint. 18 ½ x 51 ½. Published by Lily Press, Rockville, MD. All rights reserved. Courtesy of Lily Press. Briar Craig (Canadian, born 1961). There Is Nothing You Can't Do, 2017. Neon. 120 x 38 x 5 in. (305 x 97 x 12.5 cm.). Courtesy of the Artist. USEFUL LINKS Briar's website www.briarcraig.com Briar's video about printing White Wash Privilege https://youtu.be/o-NCS2IwSGc?si=0b_PoHveHf98RvFN

In s3e55, Platemark host Ann Shafer speaks with Miguel A. Aragón, artist and professor at the City University of New York, Staten Island. They talk about CNC routers, drills as woodcutting tools, growing up in Juarez, Mexico, and that city's war on drugs as a subject in his art. He weaves a tight conceptual circle in prints that explore violence, death, perception, and memory in surprisingly subtle works. Miguel A. Aragón (Mexican, born 1978). Espectadores (Spectators), from the series Meoria Fracturada, 2013. Burnt residue embossment. 11 x 15 in. Courtesy of the artist. Miguel A. Aragón (Mexican, born 1978). Retrato 18, negro (Portrait 18, black), 2008. Hand-drilled paper with drywall dust. 96 x 48 in. Courtesy of the Artist. Miguel A. Aragón (Mexican, born 1978). Retrato 18, negro (Portrait 18, white), 2008. Hand-drilled paper. Each: 96 x 48 in. Courtesy of the Artist. Miguel A. Aragón (Mexican, born 1978). Retrato 06, panel de yeso (Portrait 06, drywall). Hand-drilled drywall. 96 x 48 in. Courtesy of the Artist. Miguel A. Aragón drilling into drywall for the Retrato series. Miguel A. Aragón (Mexican, born 1978). Retrato 06, panel de yeso (Portrait 06, drywall). Hand-drilled drywall. 96 x 48 in. Courtesy of the artist. Miguel A. Aragón (Mexican, born 1978). Aplacado (el Veladero) [Appeased (el Veladero)], 2016. Woodcut. Image: 48 x 36 in.; sheet: 51 ½ x 38 ½ in. Published by Flatbed Press, Austin. Miguel A. Aragón working at Kala Art Institute in Berkeley, CA. Miguel A. Aragón working at Scuola Internazionale di Grafica di Venezia in Venice, Italy. Miguel A. Aragón working at Zygote Press in Cleveland, OH. Miguel A. Aragón working with Wuon Gean Ho at East London Printmakers. Studio view of the Edinburgh Printmakers in Edinburgh, Scotland. Studio view of the Glasgow Print Studio in Glasgow, Scotland Studio view of the Grafikwerkstatt Dresden in Dresden, Germany. Michael Barnes working at the Steindruck München Lithografie-Werkstatt in Munich, Germany. Miguel A. Aragón's mother's doilies at the Morgan Conservatory in Cleveland, OH. Miguel A. Aragón. 26.06.2009, 20:07:31. Color lithograph. Sheet: 27.5 x 22 in. Published by Flatbed Press, Austin. Miguel A. Aragón. Index: 2170. Color lithograph. Sheet: 27 1/2 x 22 in. Published by Flatbed Press, Austin. Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island. Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island. Installation shot of Miguel Aragón: Holding it all Gently. February 13–March 14, 2024. College of Staten Island, City University of New York, Staten Island.

In s3e54, Platemark host Ann Shafer talks with Andrew Raftery, artist, professor, scholar, and wallpaper designer. Andrew works in several modes, most notably in engraving. The through line in the work is domesticity. An early print featured a young man suit shopping. Next was a portfolio of engravings detailing rooms during a real estate open house. Then engravings representing each month in the life of a garden were transferred to twelve dinnerplates and sold as a set. His latest show included watercolors depicting historical interior rooms that feature French and Chinese wallpapers. He also produces letterpress wallpapers himself. Ann and Andrew talk about how engraving shows itself completely—there is no secret to how it is made, the inscrutability of Vermeer's paintings, the importance of understanding the history of prints, how the transfer process works with ceramic dinnerware, how French and Chinese wallpapers were made (some were hand painted!), and hatboxes. Images of Andrew's art are by Erik Gould; Andrew's headshot is by Ned Lochaya. Andrew is represented by Mary Ryan Gallery. Andrew Raftery (American, born 1962). Human Resources, 1990s. Engraving (unfinished). Courtesy of the artist. Andrew Raftery (American, born 1962). Cosmetic Counter, 1990s. Exterior of folding triptych. Courtesy of the artist. Andrew Raftery (American, born 1962). Cosmetic Counter, 1990s. Interior of folding triptych. Courtesy of the artist. Andrew Raftery (American, born 1962). Suit Shopping: An Engraved Narrative, 2002. Diptych, engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Suit Shopping: An Engraved Narrative, 2002. Triptych, engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 1 (living room) from the portfolio Open House, 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 2 (dining room) from the portfolio Open House, 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 3 (kitchen) from the portfolio Open House, 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 4 (hallway) from the portfolio Open House, 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Scene 5 (bedroom) from the portfolio Open House, 2008. Engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). January (recto) from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). January (verso) from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). February from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). March from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). April from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). May from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). June from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). July from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). August from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Study for August from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Pen and ink. Courtesy of the artist. Andrew Raftery (American, born 1962). September from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). October from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinner plate with transferred engraving. Courtesy of the artist. Andrew Raftery (American, born 1962). Figure model for October from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Courtesy of the artist. Andrew Raftery (American, born 1962). November from the set Autobiography of a Garden on Twelve Engraved Plates, 2009–16. Earthenware dinn

In s3e53 of Platemark, hosts Ann Shafer and Tru Ludwig conclude their conversation with Carol Wax, artist and author of The Mezzotint: History and Technique. Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints. They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol's dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts. Carol Wax (American, born 1953). Singer I, 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II, but totally different experience and different result). Carol Wax (American, born 1953). Singer II, 1985. Mezzotint. 14 ½ x 7 3/4 in. Courtesy of the artist. This was a brittle copper – two of several state proofs illustrating process of solving technical problem and the finished state. This process led directly to historical research that resulted in my writing The Mezzotint: History and Technique. John Martin (British, 1789–1854). Belshazzar's Feast, 1826. Mezzotint. Plate: 23 ½ x 32 in. Metropolitan Museum of Art, New York. Martin's large plate was printed with up to eight different inks to enhance the tonal range and compensate for the peculiarities of mezzotints engraved on steel. Richard Earlom (British, 1743–1822), after Frans Snyder (Flemish, 1579–1657). A Game Market, 1783. Mezzotint and etching. Plate: 16 ½ x 22 ¾ in. New York Public Library, New York. Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece, 1778. Etching (early state before mezzotint). Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Yale Center for British Art, New Haven. [Right] Richard Earlom (British, 1743–1822), after Jan van Huysum (Dutch, 1682–1749). A Flower Piece, 1778. Mezzotint and etching. Plate: 558 x 420 mm. (21 15/16 x 16 9/16 in.). Baltimore Museum of Art, Baltimore. J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4), 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago. [DETAIL] J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Scene from the French Coast (Liber Studiorum, plate 4), 1807. Etching and mezzotint. Plate: 20.9 x 29.1 cm. (8 ¼ x 11 7/16 in.). Art Institute of Chicago, Chicago. Thomas Goff Lupton (British, 1791–1873), after Thomas Girtin (British, 1775–1802). Chelsea Reach, Looking toward Battersea, from the series Gems of Art, 1825. Mezzotint and engraving. Sheet: 260 x 341 mm. (10 1/4 x 13 7/16 in.); plate: 168 x 252 mm. (6 5/8 x 9 15/16 in.). Baltimore Museum of Art, Baltimore. Carol Wax (American, born 1953). The Old Clothesline, 1983. Mezzotint. 11 x 11 in. Courtesy of the artist. Carol Wax (American, born 1953). Fanfare, 1983. Mezzotint. 16 x 11 in. Courtesy of the artist. This was the first image I did with a mechanical subject and the first time I subtracted so much of the background. Carol Wax (American, born 1953). Singer I, 1984. Mezzotint. 11 ½ x 8 in. Courtesy of the artist. This was a beautiful tensile piece of copper (ground exact same way as Singer II, but totally different experience and different result). Carol Wax (American, born 1953). Under Wraps, 2008. Mezzotint. 16 x 20 in. Courtesy of the artist. One of many images of animate/inanimate objects. This series turns the table and uses fabric to objectify a living subject. This project is also an example of how different grounds can be used creatively: the plate was ground with an 85-gauge rocker, but the dog parts were scraped down and reground with a 120-gauge roulette to differentiate textures between fabric and fur. The whiskers were engraved with a burin. Carol's wall of inspiration. [Left] Carol Wax (American, born 1953). Remington Noiseless, 1986. Mezzotint. 20 x 16 in. Courtesy of the artist. Remington Noiseless illustrates stylized shadows before working for Philip Pearlstein. [Right] Carol Wax (American, born 1953). Remington Return, 1993. Mezzotint. 18 ½ x 24 1/2 in. Courtesy of the artist. Reflects Pearlstein's influence as well as more sophisticated technique and confidence acquired while writing the book. Carol Wax (American, born 1953). Glad Tidings, 1993. Two relief intaglio holiday cards. Each: 3 x 2 9/10 in. Courtesy of the artist. Carol Wax (American, born 1953). Missing Peace, 2001. Relief intaglio. 5 x 1 1/2 in. Courtesy of the artist. Carol Wax (American, born 1953). Fortune's Fool, 2020. Gouache.

In s3e52 of Platemark, hosts Ann Shafer and Tru Ludwig talk with Carol Wax, artist and author of The Mezzotint: History and Technique. Carol recently published the second edition of The Mezzotint, expanding greatly in every area from the 1990 first edition. As she tells us, there is a better break down of rocking the copper plates, and of inking and printing them, plus there are new chapters about printing papers and the history of the medium and how it fits in the greater history of prints. They talk about the early history of mezzotint, whether one can over rock a plate, what happens when you do, and about Carol's dislike of perspectival composition, all the machines and their personalities, and her dogs Cecil, the Weimaraner, and Delia, the new dog in her life. The conversation ran long, so the episode is split into two parts. [Top] Carol Wax (American, born 1953). Eleven Shells, 1982. Mezzotint. 2 ¾ x 5 inches. Courtesy of the artist. First mezzotint I felt comfortable signing and which shows the influence of Hamaguchi. {Bottom] Yozo Hamaguchi (Japanese, 1909–2000). Shells. Mezzotint. John Raphael Smith (British, 1751–1812), after Henry Fuseli (Swiss, 1741–1825). The Weird Sisters (Shakespeare, MacBeth, Act 1, Scene 3), 1785. Mezzotint. Sheet: 18 1/16 x 21 7/8 in. (45.8 x 55.5 cm.). Metropolitan Museum of Art, New York. [Left] John Raphael Smith (British, 1751–1812), after Sir Joshua Reynolds (British, 1723–1792). The Infant Jupiter, 1775. Mezzotint. Plate: 20 x 14 in. New York Public Library, New York. [Right] Valentine Green (British, 1739–1813), after Sir Anthony Van Dyck (Flemish, 1599–1641). The Earl of Danby, 1775. Mezzotint. Sheet: 20 7/8 x 13 7/8 in. Chazen Museum of Art, University of Wisconsin, Madison. Carol Wax. The Mezzotint: History and Technique (2nd Edition). Atglen, PA: Schiffer Publishing, 2023. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm.). Metropolitan Museum of Art, New York. Ludwig von Siegen (German, 1609–after 1676). Amelia Elizabeth Landgravure of Hesse-Kassel, 1642. Mezzotint. Sheet: 16 7/16 x 11 15/16 in. (41.8 x 30.3 cm.). Metropolitan Museum of Art, New York. Prince Rupert (German, 1619–1682). Head of the Executioner, 1662. Mezzotint. Cooper Hewitt, Smithsonian Institution, New York. Theodor Caspar von Fürstenburg (German, 1615–1675). Salomé, 1656–75. Mezzotint. 191 x 149 mm. British Museum, London. David Lucas (British, 1802–1881), after John Constable (British, 1776–1837). The Rainbow, Salisbury Cathedral, 1855. Mezzotint. Sheet: 24 ¼ x 28 ¼ in. (61.5 x 71.7 cm.). Christie's. Thomas Frye (British, 1710/11–1762). Head of a Man Wearing a Turban, 1760. Mezzotint. Plate: 19 7/8 × 13 15/16 in. (50.5 × 35.4 cm.); sheet: 23 3/8 × 16 15/16 in. (59.4 × 43 cm.). Metropolitan Museum of Art, New York. Valentine Green (British, 1739–1813), after Joseph Wright of Derby (British, 1734–1797). A Philosopher Shewing an Experiment on the Air Pump, 1769. Mezzotint. Plate: 19 × 23 in. (48.3 × 58.4 cm.). Sheet: 19 7/8 × 25 5/8 in. (50.5 × 65.1 cm.). Metropolitan Museum of Art, New York. Joseph Pennell (American, 1857–1926). Hail America, 1908. Mezzotint. Plate: 8 7/16 × 14 11/16 in. (21.5 × 37.3 cm.); sheet: 9 7/8 × 15 3/4 in. (25.1 × 40 cm.). Metropolitan Museum of Art, New York. Reynold Weidenaar (American, 1915–1985). The Bridge and the Storm, Mackinac Straits, 1957. Mezzotint. Sheet: 19 5/8 x 15 ½ in. Richard and Jane Manoogian Mackinac Art Museum, Mackinac. Mario Avati (French, 1921–2009). Le Goût acide du jaune citron, 1982. Mezzotint. 29 x 37.7 cm. Fitch Febvrel Gallery. Yozo Hamaguchi (Japanese, 1909–2000). The Three Lemons, 1956. Color mezzotint. Cleveland Museum of Art, Cleveland. Art Werger (American, born 1955). Clarity, 2021. Mezzotint. 24 x 36 in. Courtesy of the artist. Craig McPherson (American, born 1948). Memento Mori, 2013. Mezzotint. 13 5/8 x 16 ½ in. Courtesy of the artist. Judith Rothchild (American, born 1950). Le nid, 2005. Mezzotint. 7 13/16 x 11 5/8 in. Annex Galleries, Santa Rosa. Jacob Crook (American, born 1985). Nightrise II, 2019. Mezzotint. 8 ½ x 11 in. Courtesy of the artist. Julie Niskanen (American, born 1983). Sanctuary, 2007. Mezzotint. Courtesy of the artist. Charles Ritchie (American, born 1954). House II, 2012–19. Mezzotint. Plate: 6 x 3 7/8 in.; sheet: 13 ½ x 10 in. Courtesy of the artist. J.M.W. Turner (British, 1775–1851) and Charles Turner (British, 1774–1857). Norham Castle on the Tweed (Liber Studiorum, part XII, plate 57), 1816. Etching and mezzotint. Plate: 7 x 10 5/16 in. (17.8 x 26.2 cm.); sheet: 8 1/4 x 11 1/2 in. (21 x 29.2 cm.). Metropolitan Museum of Art, New York. Frank Short (British, 1857–1945), after J.M.W. Turner (British, 1775–1851). Liber Studiorum—Frontispiece, 1885. Etching and mezzotint. Plate: 124 x 185 mm. Tate, London. EXTRA IMAGES Carol Wax (American, born 1953). Ty

In s3e51, Platemark host Ann Shafer talks with Chris Santa Maria, artist and gallery director at Gemini G.E.L. at Joni Moisant Weyl. As director of the New York gallery, Chris is responsible for showcasing and selling the print output of the storied LA workshop to enable it to keep working with amazing artists and producing incredible editions. Chris and Ann touch on Gemini's history, the structure of the workshop, how artists get to work there, and Julie Mehretu, Julie Mehretu, and Julie Mehretu. They also talk about Chris' side hustle as an artist and his intricate paper collages. Josef Albers. White Line Square IV, 1966. 53.3 x 53.3 cm (21 x 21 in.). 2011. The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York; ©Gemini G.E.L. and the Artist. Chris Santa Maria wrangling prints at Gemini G.E.L. at Joni Moisant Weyl, New York. Sidney Felsen, co-founder of Gemini G.E.L. Photo by Alex Berliner. Gemini G.E.L. at Joni Moisant Weyl, 535 West 24th Street, third floor, New York. ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria hanging Julie Mehretu's print at Art Basel Miami, 2019. Julie Mehretu's etching installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Analia Saban working at Gemini workshop. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Robert Rauschenberg working on the limestone for Waves from the Stoned Moon series with Stanley Grinstein in the background. Photograph by Sidney B. Felsen, 1969. From the collection of Getty Research Institute. Jasper Johns deleting imagery from a lithography plate for Cicada, November 1981. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Richard Serra at work on his etchings and Paintstik compositions, November 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Ellsworth Kelly (left) and NGA curator Mark Rosenthal at Gemini; Ellsworth canceling a print from the Portrait Series, February 1990. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Works by Richard Serra and Julie Mehretu at the IFPDA Print Fair, October 2023. ©Gemini G.E.L., Los Angeles, California. Joni Weyl and Sidney Felsen at the 2019 IFPDA Print Fair, New York. Tacita Dean at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Roy Lichtenstein at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Julie Mehretu at Gemini G.E.L.'s booth at the IFPDA Print Fair, October 2023. Tacita Dean. LA Magic Hour 1, 2021. Hand-drawn, multi-color blend lithograph. 29 7/8 x 29 7/8 in. (75.88 x 75.88 cm). ©Gemini G.E.L., Los Angeles, California. Chris Santa Maria. Field 31, 2023. Paper college on 4-ply ragboard. 10 x 10 in. Chris Santa Maria's studio. Chris Santa Maria's studio. Chris Santa Maria. President Trump, 2020. Paper collage. 72 x 72 in. Chris Santa Maria. No. 5, 2014. Paper collage on MDF. 58 x 60 in. in the window of Jim Kempner Fine Art, New York. Ellsworth Kelly. The River (state), 2003 and River II, 2005. Lithographs. Installed during the exhibition Ellsworth Kelly: The Rivers, October 25–December 8, 2007 at Gemini G.E.L. at Joni Moisant Weyl, New York. Julie Mehretu's etchings installed at the New York gallery, June 8–August 24, 2023. ©Gemini G.E.L., Los Angeles, California. Bruce Nauman in the curating room canceling a copperplate by drawing a sharp tool across it to destroy the image with assistance from William Padien, 1983. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. Julie Mehretu at work at Gemini G.E.L., Los Angeles. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California. Works by Ann Hamilton and Tacita Dean in the exhibition at the New York gallery, Selected Works by Gemini Artists. January 2–February 24, 2024. ©Gemini G.E.L., Los Angeles, California. Daniel Buren at Gemini workshop, August 1988. Photograph by Sidney B. Felsen. ©Gemini G.E.L., Los Angeles, California, 2001. USEFUL LINKS Gemini G.E.L. at Joni Moisant Weyl. | (joniweyl.com) Gemini G.E.L. Graphic Editions Limited (geminigel.com) Chris Santa Maria Instagram accounts @chrisantamaria @geminigel @joniweyl

In s3e50, Platemark host Ann Shafer talks with Allison Tolman, a private dealer handling prints by contemporary Japanese artists. The Tolman Collection has branches in Tokyo and New York and works with a range of artists. Allison is a second-generation dealer—her father heads up the Tokyo branch while Allison is holding down the fort in New York. She enjoys personal relationships with her artists and is a tireless promoter of prints from the other side of the world. Ann and Allison talk about cultural differences relating to aesthetics, manner of working, and business dealings. They also talk about managing a business without a bricks-and-mortar space and their love of this admittedly tiny corner of the art world. SHINODA Toko (Japanese, 1913–2021). Awakening, 2017. Original painting. 24 3/4 x 40 1/2 in. The Tolman Collection of New York. YAMAMOTO Kanae (Japanese, 1882–1946). Fisherman, 1904. Woodcut. 12 3/8 x 10 11/16 in. Cleveland Museum of Art, Cleveland. HOKUSAI Katsushika (Japanese, 1760–1849). Under the Wave off Kanagawa, from the series Thirty-six Views of Mount Fuji, c. 1830–32. Woodblock print. 10 x 15 in. (25.4 x 38.1 cm.). Metropolitan Museum of Art, New York. KAWAMURA Sayaka (Japanese, born 1990). I Dream of Floating, 2021. 27 5/8 x 27 5/8 in. The Tolman Collection of New York. YOSHIDA Hadaka (Japanese, 1926–1995). Night (drops), 1954. Woodblock print. 16 x 10 7/8 in. (40.5 x 27.5 cm.). Scholten Japanese Art, New York. KURODA Shigeki (Japanese, born 1953). Yellow Flow. Etching. 7 x 11 in. Gilbert Luber Gallery, Philadelphia. KAWACHI Seiko (Japanese, born 1948). The Flying (Metropolitan Government-I), from the series One Hundred Views of Tokyo, Message to the 21st Century, 1989–99. Color woodblock print. 27 x 20 in. (68 x 50 cm.). Art Institute of Chicago, Chicago. TAKAHASHI Hiromitsu (Japanese, born 1959). Blizzard of Blossoms, 2013. Stencil print. The Tolman Collection, Tokyo. USEFUL LINKS Artists | The Tolman Collection of New York Japanese Woodblock Print Search - Ukiyo-e Search What is an Original Print? | Print Council of America Lucas Martineau. Takahashi Hiromitsu: The "DyEing" Art of Kappazuri, 2020. Takahashi Hiromitsu "DyEing" Art of Kappazuri Lucas Martineau | Tolman Collection of Tokyo (tolmantokyo.com)

In s3e49, Platemark host Ann Shafer talks with Valpuri Remling, collaborative printer and manager of the pro workshop at Tamarind Institute, University of New Mexico, Albuquerque, which was established in 1960 by the legendary June Wayne in order to preserve and promote the art of lithography. Valpuri, a native of Rovaniemi in Finnish Lapland, graduated from the program in 2009. After working at Helsinki Litho with Matti Hintikka and Kalle Berg, Valpuri returned to Albuquerque in 2015 to assume the position of printer and workshop manager from Bill Lagattuta, Tamarind's longtime collaborative printer. In her role, Valpuri collaborates with visiting artists, manages multiple publishing projects, and advises other workshops and manufacturing entities on best practices in lithography. Every year she directs the research of Tamarind apprentice printers and mentors the next generation of lithographers. Ann and Valpuri talk about growing up on the Artic Circle, how the two Tamarind shops function side by side, research into new lithograph tools and techniques, the printshop ballet, collaborating with artists, being true to oneself, and the surprising opportunity for artists to have work printed at Tamarind by students. Brandon Gunn, Tamarind Master Printer, Director of Education, and Professor of Practice. Arikah Lynne, 2023–24 Apprentice Printer. Brandon Gunn demonstrating a rainbow roll for a cohort. Bill Lagattuta, Marjorie Devon, and Rodney Hamon. Rodney Hamon and Bill Lagattuta with a cohort. Alyssa Ebinger and Valpuri Remling in the pro shop. Kylee Aragon Wallis, Gallery Director. Tamarind founder June Wayne. Garo Antreasian and Clinton Adams. Diana Gaston, Director. Marge Devon, retired Director. Matti Hintikka, Valpuri Remling, and Kalle Berg at Helsinki Litho. Adam Ostreicher. The Procession, 2007. 5-plate etching and aquatint. Tru Ludwig. Ask Not…, 1997. Etching and aquatint, engraving, and softground etching. 36 x 24 in. Tusche test stone. Jeffrey Gibson (American, Mississippi Choctaw-Cherokee, born 1972). Mighty Real, 2021. Four-color lithograph. Sheet: 36 11/16 x 25 ¼ in. Published by Tamarind Institute; printed by Valpuri Remling and Lindsey Sigmon. USEFUL LINKS Tamarind Institute website: www.tamarind.unm.edu Map to find Tamarind-trained shops and printers: www.tamarind.unm.edu/map/fatp_map.html# Instagram accounts @tamarindinstitute @tamarindeducation @valpuriremling Other printmaking podcasts Platemark Hello, Print Friend The Unfinished Print NewsPrint Podcast The Print Cast All About Printmaking with Phil and Amy

In episode s3e48, Platemark host Ann Shafer speaks with Deb Chaney, Tamarind-trained master printer specializing in lithography. She has an eponymous imprint, Deb Chaney Editions and has started a new venture with Stéphane Guilbaud—D&S Fine Art Editions—to whom she is fairly recently married. They have studios in Upstate New York (studio to be built), Paris, and LaForce, France. Ann and Deb talk about the beauty of litho stones, common problems that come with printing lithographs, why litho inks are more saturated than other types of inks, how the Tamarind program works, why printers are the nexus of the whole system, and the surprising differences between the print ecosystem in France versus the United States. Deb is a delight and super knowledgeable. You'll learn more about the chemistry of lithography (adding to the history of litho we got from Michael Barnes in episode 25), and so much more. Ethan Murrow (American, born 1975). Quietude, 2022. 4-color stone lithograph. 62 ½ x 47 in. Published by D&S Fine Art Editions. Dasha Shishkin (American, born Moscow, 1977). 9 Pickles, 2020. Portfolio of 9 stone lithographs. Each: 16 x 12 in. Published by Deb Chaney Editions. Deb Chaney sponging the stone for Dasha Shishkin's lithograph Good Night and Good Luck, 2021. Art Spiegelman (American, born Stockholm, 1948). Trump L'oeil, 2018. 7-color stone lithograph. 30 x 22 in. Published by MEL Publisher; printed by Deb Chaney Editions. Beauvais Lyons (American, born 1957). Flea Circus, 2015. Lithograph. Hokes Archives, University of Tennessee, Knoxville. Anita Jung (American, born 1960). Hole in the Sky, 2019. Acrylic on paper. 30 x 22 in. A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Dread Scott and Jenny Polak at work in D&S Fine Art Editions's studio, Paris. Dread Scott (American, born 1964) and Jenny Polak (American, born 1974). Délivré, 2023. 8-color stone lithograph. 37 1/2 x 28 ½ in. (96 x 72 cm.). Published by D&S Fine Art Editions. D&S Fine Art Editions's studio in La Force, Bergerac, France. Ethan Murrow at work in D&S Fine Art Editions's studio. Deb Chaney (American, born 1978). La Habana, 2014. Monotype collage. 20 x 32 in. Publisher Spotlight: D&S Fine Art Editions. Installation at Print Center New York, 2023, featuring lithographs by Dread Scott and Jenny Polak, Ethan Murrow, and Dasha Shishkin. Stéphane Guilbaud (left) and team in the D&S Fine Art Editions's Paris studio. The giant Voirin Press in D&S Fine Art Editions's Paris studio with Ethan Murrow's Quietude, 2022.

Leading off 2024's series three episodes is s3e47 in which Platemark host Ann Shafer speaks with Adam McCoy, Senior Specialist in Fine Art, Rago Auctions. Adam has worked in various auction houses for many years, including Christies and Artsy. Ann relished the chance to pepper Adam with questions. In the episode Adam and Ann talk about the business of the business including what to expect when you decide to sell something at auction, the vagaries of the market, the authentication process, the bidding process (by phone, online, or in person), the value of old school auction catalogues, and which of Picasso's prints holds the record price. Edvard Munch (Norwegian, 1863–1944). Madonna, 1895. Lithograph. Image: 600 x 440 mm.; sheet: 640 x 480 mm. Munch Museum, Oslo. Pablo Picasso (Spanish, 1881–1973). Femme qui pleure, 1937. Drypoint, aquatint, and etching. plate: 27 3/16 x 19 ½ in. (69 x 49.5 cm.); sheet: 30 1/2 x 22 9/16 in. (77.4 x 57.3 cm.). Museum of Modern Art, New York. Andy Warhol (American, 1928–1987). Marilyn, 1967. Portfolio of 10 screenprints. Each: 36 x 36 in. Robin Rile Fine Art, Miami. Pablo Picasso (Spanish, 1881–1973). Rembrandt with a Palette, from the Vollard Suite, 1934, printed 1939. Etching. Plate: 10 15/16 x 7 13/16 in. (27.8 x 19.8 cm.); sheet: 17 9/16 x 13 7/16 in. (44.6 x 34.1 cm.). Metropolitan Museum of Art, New York. Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph. Sheet: 69.9 x 54 cm (27 1/2 x 21 1/4 in.). National Gallery of Art, Washington, D.C. Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA. Scott Kahn (American, born 1946). Ingersoll's Branch, 1989, printed 2022. 26-color screenprint. Avant Arte. Ursula von Rydinsvard (German, born 1942). CISZA, 2021-22. Cedar. 149 x 79 x 82 in. George J. Stengel (American, 1872–1937). The Quarry, New Habor, Maine. Oil on canvas. 25 ¼ x 30 1.8 in. Questroyal Fine Art, New York. Kate Reno Miller (American, 1874–1929). Sunlit Path, 1920. Oil on board. 11 x 14 in. Cincinnati Art Galleries. Wharton Esherick Museum, Paoli, PA. (photo: Emma Lee, WHYY) B.J.O. Nordfeldt (American, 1878–1955). The Skyrocket, 1906. Color woodcut. Image: 8 ¾ x 11 ¼ in. (22.2 x 28.6 cm.). Smithsonian American Art Museum, Washington, DC.

In s3e46, Platemark host Ann Shafer speaks with Reinis Gailitis, an engraver from Riga, Latvia. The magic of the internet is fully on display today. Without it, finding Reinis's work would have been challenging. But his self-portrait in the style of Claude Mellan's Holy Face, the one with a single line emanating from the subject's nose, is a marvel. Ann and Reinis talk about how engraving is simultaneously the most simple and direct of techniques while being the most difficult. They talk about tricks and tools shared by artists thanks to the internet: how to transfer a drawing onto a shiny copper plate for engraving (thanks, Andrew Raftery), what recipe to use for a darkened paste to fill already carved lines to see progress (thanks, Lembit Lõhmus), choosing a non-toxic solvent and trying out a custom tube of ink (thanks, Ad Stijnman), about non-toxic electrolytic etching (thanks, Jason Scuilla). They talk about the pitfalls of selling Intagram-worthy art, why there's little-to-no printmaking culture in Latvia, and about how overdue we are for a severe magnetic storm that could wipe out electronic media, documents, art pointing to the importance of printed objects. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis teaching engraving at the Art Academy, Riga, Latvia. Reinis Gailitis's plate with ink-paste in the engraved lines to help the artist see where they are. Reinis Gailitis engraving the copper plate Face Of... Reinis Gailitis (Latvian, born 1992). Engraved spiral perfection. Halftone rake tool (intaglioprintmaker.com). Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. [DETAIL] Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. Stanley William Hayter (English, 1901–1988). Cinq Personnages, 1946. Engraving and softground etching (trial proof prior to color additions). Baltimore Museum of Art, Baltimore. Reinis Gailitis (Latvian, born 1992). Monoliths, 2022. Engraving. Reinis Gailitis. Variations of lines via engraving, drypoint, and mezzotint. Lembit Lõhmus (Estonian, born 1947). Ex Libris. Engraving. Reinis Gailitis's ink-paste. Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis. Reinis Gallitis (Latvian, born 1992). Face of…, 2021. Engraving. Sheet: 30 x 22 cm.; plate: 25 x 18 cm. Reinis Gailitis (Latvian, born 1992). Schematic for Face Of… engraving. Albrecht Dürer (German, 1471–1528). Self-Portrait, 1500. Oil on panel. 67.1 × 48.9 cm. (26 1/3 × 19 1/3 in.). Bayerische Staatsgemäldesammlungen - Alte Pinakothek München. Reinis Gallitis (Latvian, born 1992). Vortex, 2021. Engraving. Sheet: 44 x 34 cm.; plate: 40 x 29 cm. Reinis Gailitis (Latvian, born 1992). Starship, 2021. Engraving and chine collé. Reinis Gailitis (Latvian, born 1992). Work in Progress, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving and linoleum cut on chine collé. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Linoleum cut. [DETAIL OF TRIAL PROOF] Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving printed intaglio and relief with white areas hand wiped. Reinis Gailitis (Latvian, born 1992). Inked engraving plate (black intaglio, blue relief, white hand wiped) for Work in Dark, 2023. Reinis Gailitis (Latvian, born 1992). Fungi, 2023. Wood engraving. 9 x 11 cm. Reinis Gailitis (Latvian, born 1992). Woodblock for Fungi, 2023. 9 x 11 cm. Reinis Gailitis's engraved woodblock for Fungi set in press. Reinis Gailitis's wood engraving, Fungi, being printed. Anton Würth (German, born 1957). Dürer Übung-Dürer Practice, 2014. Engraving. 100 x 150 mm (3 7/8 x 5 7/8 in.). C.G. Boerner, New York. Lembit Lõhmus (Estonian, born 1947). Ex Libris in memoriam Richard Kaljo. Engraving. Reinis Gailitis (Latvian, born 1992). Engraved patterns. USEFUL LINKS Reinis's website: https://gailitis.berta.me/ Reinis's prints are available for purchase on his Esty shop: https://www.etsy.com/shop/GailitisPrintmaking?ref=profile_header Support Reinis through Patreon: https://www.pat

In Platemark s3e45, host Ann Shafer talks with Bob Schneider, who is best known for his music but is a serious artist as well. You may know some of his best-loved songs like 40 Dogs (Like Romeo and Juliet), Honeypot, Deep Blue Sea, and Peaches, but you will be delighted to learn about his print output. These are gorgeous etchings primarily made with Katherine Brimberry at Flatbed Press in Bob's hometown, Austin, TX. In the episode, Bob and Ann talk about all sorts of things including anxiety, AI, and creativity. Their discussion about creativity is fascinating: he's a surrealist at heart and subscribes to the idea that images emerge unbidden from his subconscious. In fact, he believes he is just cultivating things that are already there. Numerous etchings by the artist are online at flatbedpress.com. As you look through them online, you can guess which one is in Ann's collection. His digital compositions, collages, and paintings are available at Yard Dog Gallery. Bob plays a lot of live shows in Texas, including weekly Monday nights sets at Saxon Pub in Austin. He plays select shows in other places; check his website for tour dates near you. He's a consummate performer and is worth seeking out. USEFUL LINKS Bob's website bobschneider.com YouTube Music music.youtube.com/channel/UCfzxdvRc4RzUyYeQiIyHASQ Spotify open.spotify.com/artist/4YOxTnmYogOpUPxrNTacvQ Facebook facebook.com/bobschneidermusic Instagram instagram.com/bob_schneider_music X (Twitter) twitter.com/Bob_Schneider FRUNK bobschneidermusic.bandcamp.com Merch bobschneider.myshopify.com Bob Schneider (American, born 1965). The Night Way, 2008–17. Etching. Plate: 29 x 22 ¼ in.; sheet: 45 x 34 ¾ in. Published by Flatbed Press, Austin. Bob Schneider (American, born 1965). Atama, 2008. Etching. Plate: 26 7/8 x 24 3/8 in.; sheet: 43 ¾ x 34 ¾ in. Published by Flatbed Press, Austin. Bob Schneider (American, born 1965). Lucretia, 2000. Etching. Plate: 18 x 24 in.; sheet: 22 x 30 in. Published by Flatbed Press, Austin. Bob Schneider (American, born 1965). Woman, 2000. Etching and aquatint. Plate: 42 ½ x 30 in. Published by Flatbed Press, Austin. Bob Schneider (American, born 1965) and Justin Barker (American, born 1979). Illustration for Bob's graphic novel, FAYM. Bob Schneider (American, born 1965) and Justin Barker (American, born 1979). Illustration for Bob's graphic novel, FAYM. Bob Schneider and Justin Barker at Saxon Pub, Austin, November 2023. Bob Schneider (American, born 1965). We're Never Really Sure if the Life We Live Here Belongs to Us. Digital print on Hahnemühle 100% cotton photo rag fine art paper. 21 x 15 ¾ in. Yard Dog Gallery, Austin. Bob Schneider (American, born 1965). Abe II. Digital print on Hahnemühle 100% cotton photo rag fine art paper. 21 x 15 ¾ in. Yard Dog Gallery, Austin. Bob Schneider (American, born 1965). Who Isn't Born Again Into Heaven. Oil on canvas. 20 x 16 in. Yard Dog Gallery, Austin. Bob Schneider (American, born 1965). Each Moment is a Place You've Never Been. Oil on canvas. 20 x 16 in. Yard Dog Gallery, Austin. Digital art by AI and Bob Schneider for FRUNK, recordings of each of Bob's performances. Bob Schneider and Clint Wells's podcast I'm OK, you're OK; I'm not OK, you're not OK. Bob Schneider prints spread out at Flatbed Press, Austin.

There's often a ton of art in medical spaces, but who are the curators of those health system collections? In s3e44, Platemark host Ann Shafer speaks with Naomi Huth, chief curator and director of the art collection for NYC Health + Hospitals. Held within the Arts in Medicine department, NYC Health + Hospitals has one of the largest public (non museum) art collections in New York City with more than 7,000 works of art, including a number of murals. Their goal is to make art accessible to the public and integrate the collection into healing environments across NYC Health + Hospitals' eleven acute care hospitals, five nursing homes, six diagnostic and treatment centers, and more than seventy community-based primary care sites. A major part of Naomi's job is to highlight the concepts of diversity and accessibility in collecting, collaboration, and mentoring emerging artists. She has focused on acquiring works by underrepresented artists to improve and diversify the collection as well as integrating diverse perspectives into the collection and fostering a better understanding of the issues of today through the lens of art. We talk about how art can reduce stress, offer peace, and help both patients and their families and medical staff members find moments of respite in busy and intense spaces. It's different yet not from being a museum curator. From 2012–2021, Naomi was the curator for the Joseph M. Cohen Family Collection, a large private collection with six locations around the United States. She has previously held curatorial positions at the New Museum, Museum of Arts and Design, Rubin Museum, and the de Young Museum. Naomi is a member of the Young Collectors Council acquisitions committee at the Guggenheim, the advisory board of the Center for Photography in Woodstock, Independent Curators International, and is an accredited member of the Appraisers Association of America. She earned her M.A. in Art History and Museum Studies from the City College of New York (CCNY) and her B.S. in Fashion Design and Art History from Drexel University. William Palmer. Function of a Hospital, 1934. Mural. NYC Health + Hospitals/Elmhurst Hospital Center, Queens. Georgette Seabrooke. Recreation in Harlem, 1936. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan. Angel Garcia. The Shoulders of Legacy, 2021. NYC Health + Hospitals/Harlem, Manhattan. Charles Alston. Man Emerging, 1969. Mural. NYC Health + Hospitals/Harlem Hospital Center, Manhattan. Staff wellness room, NYC Health + Hospitals/Kings County, Brooklyn. Linda LeKniff pastels in the pharmacy at NYC Health + Hospitals/Gotham Health, Morrisania, Bronx. Andy Warhol print at NYC Health + Hospitals/Bellevue, Manhattan. Oscar Lett. Origins and Today, 2019. Mural. NYC Health + Hospitals/Kings County, Brooklyn. Kristy McCarthy. Together We Heal, 2023. Mural located in the waiting room of the pediatric emergency department at NYC Health + Hospitals/South Brooklyn Health, Brooklyn. Fernando "Ski" Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx. Fernando "Ski" Romero and Modesto Flako Jimenez. Guns Down, Life Up, 2023. NYC Health + Hospitals/Lincoln Hospital, Bronx. Keith Haring. 1986 mural at NYC Health + Hospitals/Woodhull, Brooklyn. USEFUL LINKS NYC Health + Hospitals Arts in Medicine department: https://www.nychealthandhospitals.org/artsinmedicine/ NYC Health + Hospitals Arts in Medicine art collection: https://www.nychealthandhospitals.org/artsinmedicine/art-collection/ NYC Health + Hospitals Arts in Medicine programs: https://www.nychealthandhospitals.org/artsinmedicine/programs/ NYC Health + Hospitals Arts in Medicine Bloomberg Connects app:https://www.nychealthandhospitals.org/artsinmedicine/programs/#artsInMedicineMobileApp Naomi Huth's IG: https://www.instagram.com/naomi__huth/

In s3e43, Platemark host Ann Shafer talks with Craig Zammiello, an artist and collaborative printer with over 40 years of experience in all areas of printmaking. He worked for 25 years at Universal Limited Art Editions, where he collaborated with numerous artists, including Jasper Johns, Elizabeth Murray, James Rosenquist, Kiki Smith, and Robert Rauschenberg. Currently, he is a collaborative printer at Two Palms working with Mel Bochner, Ellen Gallagher, Chris Offili, Elizabeth Peyton, and Dana Schutz. He is author of a studio manual on photogravure, as well as Conversations from the Print Studio published by Yale University Press. Ann and Craig talk about Woodburytypes, working with Robert Rauschenberg at ULAE, and helping Matthew Barney grow copper nodules on a Woodburytype and then gold plating them. They talk about Craig's transition to Two Palms and how that studio works outside of the traditional print studio model. Find out about a lifelong interest of Craig's that has resulted in his collection being acquired by the American Museum of Natural History (no, it's not prints), and what band would he most like to join on tour. Zammiello received an MFA from The State University of New York, Stony Brook in 1995. He is currently Adjunct Faculty at the School of the Arts at Columbia University. Zammiello has taught workshops and classes at New York University, Yale University, The Robert Blackburn Printmaking Workshop and the Flemish Center for the Graphic Arts in Belgium. Episode image: Elizabeth Zammiello Matthew Barney (American, born 1967). In Vain Produced, All Rays Return, Evil Will Bless, and Ice Will Burn, 2015. Set of 4 Woodburytype prints on copper with electro-formed copper, nickel and 24 carat gold, in red oak frames. Framed dimensions: 11 1/2 x 15 ½ in. Printed by F-Zero Project and published by Two Palms, New York. Lead printing plate for Brad by Chuck Close (American, 1940–2021). 9x12 in. The finished Woodburytype print for Brad, Chuck Close (American, 1940–2021), with the ink overflow around the edges. 11x14 inches. Published by Two Palms, New York. R. Crumb (American, born 1943). Keep on Flushin', 2022. Etching. Sheet: 13 ½ x 11 ½ in. Printed by Craig Zammiello and published by Two Palms, New York. Mel Bochner (American, born, 1940). Is This It?, 2023. Cast and pigmented paper. 69 ¾ x 67 ¼ x 5 5/8 in. Published by Two Palms, New York. Lee Bontecou (American, 1931–2022). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 x 25 in. (50.8 x 63.5 cm.). Published by Universal Limited Art Editions, Bayshore, New York. Robert Rauschenberg (American, 1925–2008). Wall-Eyed Carp/ROCI JAPAN, 1987. Acrylic and fabric collage on canvas. 203.2 x 617.2 cm (80 x 243 in.). National Gallery of Art, Washington, D.C. Lisa Hodermarsky and Craig Zammiello. Conversations from the Print Studio: A Master Printer in Collaboration with Ten Artists. New Haven: Yale University Art Gallery, 2012. USEFUL LINKS Craig Zammiello's video on photogravure techniques: https://www.youtube.com/watch?v=t3HAoyIsrDY Craig's website: https://www.zammiello.com/ IG: @craigzammiello

In s3e42, Platemark host Ann Shafer talks with Lauren Rosenblum and Christina Weyl about their exhibition on view at Print Center New York through December, 23, 2023. A Model Workshop: Margaret Lowengrund and The Contemporaries is the first exhibition to explore the legacy of Lowengrund (1902–1957), a visionary artist-advocate and entrepreneur. In charting the institutional history of the hybrid print workshop-gallery she founded, The Contemporaries, and its later evolution into Pratt Graphic Art Center, A Model Workshop brings into focus the bustling printmaking scene of 1950s New York and reveals Lowengrund's impact on postwar printmaking. A Model Workshop: Margaret Lowengrund and The Contemporaries is curated by Lauren Rosenblum and Christina Weyl. It is on view September 21–December 23, 2023, at Print Center New York, 535 West 24th Street. Maurice Berezov, Margaret Lowengrund at The Contemporaries, c. 1952–55. Woodstock Artists Association and Museum Archives. © Maurice Berezov Photograph Copyright A.E. Artworks, LLC. Image courtesy Woodstock Artists Association and Museum Archives, Woodstock, New York. A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. The Contemporaries Graphic Art Centre, c. 1954. 959 Madison Ave, New York. The Contemporaries Gallery of Sculpture and Graphic Art, 992 Madison Avenue at 77th Street, New York, 1955. Photo by Robert Delson. The Contemporaries Graphic Art Centre, c. 1955–56. 1343–45 3rd Ave, New York. The Pratt Graphic Art Center, c. 1959. 795 Broadway, New York. Stuart Davis (American, 1892–1964). Detail Study for Cliché, 1957. Lithograph. 15 3/4 × 18 3/8 in. (40 × 46.7 cm.). Printed by Arnold Singer at The Contemporaries Graphic Art Centre. Judd Foundation, New York. © Estate of Stuart Davis Arthur Deshaies (American, 1920–2011). Hornet's Nest, 1956. Plexi engraving. Image: 303 x 403 mm. National Gallery of Art, Washington, D.C. Dean Meeker (American, 1920–2002). Trojan Horse, 1952. Screenprint. Sheet: 20 × 26 in. (50.8 × 66 cm.); image: 18 1/8 × 25 ¾ in. (46 × 65.4 cm.). Whitney Museum oof American Art, New York. Fritz Eichenberg's Talk on His Trip to the Soviet Union with United States Information Agency, Graphic Arts Exhibit, 1963. Pratt Institute Archives, Pratt Institute Library. Pratt Graphic Art Center, November 1962. Pratt Institute Archives, Pratt Institute Library. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. [Installation shot] A Model Workshop: Margaret Lowengrund and The Contemporaries. Curated by Lauren Rosenblum and Christina Weyl. September 21–December 23, 2023. Print Center New York, 535 West 24th Street. Photo: Argenis Apolinario. Peter Lipman-Wulf (1905–1993). Man in the Moon, 1952. Lignum vitae. 24 ½ × 14 × 10 ½ in. Collection of Michael Henkel, East Hampton, NY. USEFUL LINKS A Model Workshop webpage. https://www.printcenternewyork.org/a-model-workshop Christina's book: The Women of Atelier 17. https://www.atelier17.christinaweyl.com/#content Christina's article: "Missing Archives: Worden Day and Women Modernists." https://christinaweyl.com/projects/2019-09-aaaj/ Rockefeller Archive Center, Sleepy Hollow, NY. https://rockarch.org/ Christina's IG: @christinaweyl Lauren's IG: @rosenbluuuum

In Platemark s3e41, host Ann Shafer talks with Susan Tallman, an art historian and essayist who co-founded the journal Art in Print and served as its editor for its entire run, 2011–2019. A regular contributor to New York Review of Books and The Atlantic Monthly, she has authored and co-authored many books, most recently No Plan At All: How the Danish Printshop of Niels Borch Jensen Redefined Artists Prints for the Contemporary World, as well as the new catalogue raisonné of prints by Kerry James Marshall. Ann and Susan talk about the word "original" as an unhelpful term to describe fine art prints, last summer's blockbuster Vermeer exhibition at the Rijksmuseum in Amsterdam, Gerhard Richter's 2020 exhibition at the Metropolitan Museum in New York, and the state of the state of the print world. In the end you'll understand why Susan loves ambiguity in art. William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum block. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa. Julie Mehretu (American, born Ethiopia, 1970). Treatises on the Executed (from Robin's Intimacy), 2022. 10-panel etching and aquatint from 50 plates. 93 1/2 x 173 1/8 in. (237.5 x 439.7 cm.). Gemini G.E.L., Los Angeles. Edvard Munch (Norwegian, 1863–1944). The Vampire, 1895. color lithograph and woodcut with watercolor [trial proof]. sheet: 38.9 × 55.7 cm (15 5/16 × 21 15/16 in.). National Gallery of Art, Washington, D.C. Susan Tallman. The Contemporary Print from Pre-Pop to Postmodern. London and New York: Thames and Hudson, 1996. Jasper Johns (American, born 1930). Target, 1960. Lithograph. 12 1/16 x 12 3/16 in. (30.7 x 30.9 cm.); sheet: 22 13/16 x 17 13/16 in. (57.9 x 45.2 cm.). Published by ULAE. Museum of Modern Art, NY. Jasper Johns (American, born 1930). Target, 1961. Encaustic and newpaper on canvas. 167.6 × 167.6 cm. (66 × 66 in.). Art Institute of Chicago, Chicago. Susan Tallman. Kerry James Marshall: The Complete Prints. New York: Ludion/D.A.P., 2023. Vermeer. Rijksmuseum, Amsterdam. February 10–June 4, 2023. Johannes Vermeer (Dutch, 1632–1675). Allegory of the Catholic Faith, c. 1670–72. Oil on canvas. 45 x 35 in. (114.3 x 88.9 cm.). Metropolitan Museum of Art, New York. Johannes Vermeer (Dutch, 1632–1675). Woman with Pearl Necklace, c. 1664. Oil on canvas. 55 × 45 cm. (21 5/8 × 17 3/4 in.). Gemäldegalerie, Staatliche Museen, Berlin. Johannes Vermeer (Dutch, 1632–1675). Woman Holding a Scale, c. 1664. Oil on canvas. 42.5 x 38 cm (16 3/4 x 14 15/16 in.). National Gallery of Art, Washington, D.C. Kouros, c. 530 B.C. Getty Museum, Los Angeles. Calouste Gulbenkian Foundation, Lisbon. Terra Cotta Warriors: Guardians of China's First Emperor. National Geographic Museum, Washington, D.C. November 19, 2009–March 31, 2010. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Oil on canvas. 6.77 × 9.94 m (267 × 391 in.). Louvre Museum, Paris. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Factum Arte digital copy. 6.77 × 9.94 m (267 × 391 in.). San Giorgio Maggiore, Venice. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Anonymous Andean painting hanging in Susan's home. Jan Wierix (Netherlandish, 1549–1615), after Martin de Vos (Netherlandish, 1532-1603). Annunciation, 1549-before 1585. Engraving. Plate: 265 × 197 mm. Rijksmuseum, Amsterdam. Gerhard Richter: The Birkenau Paintings. Met Fifth Avenue. September 5, 2020–January 18 2021. Credit: Charlie Rubin for The New York Times. Stanley William Hayter (British, 1901–1988). Père Lachaise from the portfolio Paysages urbains, 1930. Engraving and drypoint. Sheet: 283 × 381 mm. (11 1/8 × 15 in.); plate: 208 × 268 mm. (8 3/16 × 10 9/16 in.). Baltimore Museum of Art, Baltimore. Edge of Visibility. IPCNY, New York. October 4–December 2018. USEFUL LINKS Susan's website: https://www.susan-tallman.com/ Art in Print on Jstor: https://www.jstor.org/journal/artprint The Getty's Paper Project: https://www.getty.edu/projects/paper-project/ New York Public Library. The Miriam and Ira D. Wallach Division of Art, Prints, and Photographs. https://www.nypl.org/locations/schwarzman/wallach-division/print-collection Factum Arte: https://www.factum-arte.com/pag/38/a-facsimile-of-the-wedding-at-cana-by-paolo-veronese

In this bonus episode, Hello, Print Friend creator and guest host Miranda Metcalf talks with Luther Davis, master printer and director of Powerhouse Arts Print Shop, Brooklyn, about his background and early career. Powerhouse Arts is new player in the printing/publishing ecosystem and warrants extended conversation with its leader. This is a two-parter in which Miranda converses with Luther and then in another episode, Ann Shafer speaks with Luther about the present and future at Powerhouse Arts. Thanks to Platemark's sister pod Hello, Print Friend and Miranda for collaborating on this two-parter. Both Hello, Print Friend and Platemark's episodes are available on both podcast channels.

In s3e40, Platemark host Ann Shafer talks with Luther Davis, master printer and director of Powerhouse Arts, Brooklyn. This is a two-parter. For this interview, Platemark collaborated with its sister podcast Hello, Print Friend. Miranda Metcalf, Hello, Print Friend's host and creator interviewed Luther about his background and early career; Ann Shafer spoke with Luther about the present and future at Powerhouse Arts, a new non-profit arts center in a renovated transit power station on the Gowanus Canal in Brooklyn. Both Hello, Print Friend and Platemark's episodes will be available on both podcast channels. Luther has been in the biz for a long time and has great stories about the printing industry in Brooklyn. We talk about industrial printing and ask what the differences are between "art" and everything else. We talk about how important accessible shops are for artists to fabricate large projects (in addition to a print shop, Powerhouse has a ceramics studio, and a large sculpture fabrication shop). We talk about the state of print publishing today. Luther has brought his prodigious experience to bear at Powerhouse Arts, a fairly new player in the field. He is taking the reigns of the Print Shop and running with it. Episode image: Dana Zinsser. Powerhouse Arts Print Shop, Brooklyn. Pulled in Brooklyn, exhibition curated by Roberta Waddell and Samantha Rippner. IPCNY, April 4–June 15, 2019. Industrial map of New York City showing manufacturing industries. New York Public Library. Printing industries are marked in orange. Grand Hall, Powerhouse Arts, Brooklyn. Powerhouse Arts Print Shop, Brooklyn. Inaugural artist-in-residence Ivan Forde working at Powerhouse Arts Print Shop, Brooklyn. Jasper Johns (American, born 1930). Leo from The Leo Castelli 90th Birthday Portfolio, 1997. Color etching. Plate: 17 11/16 × 11 13/16 in. (45 × 30 cm.); sheet: 36 13/16 × 27 in. (93.5 × 68.6 cm.). Published by Jean-Christoph Castelli; printed by Noblet Serigraphie. Museum of Modern Art, New York. Ed Ruscha (American, born 1937). News from the portfolio News, Mews, Pews, Brews, Stews & Dues, 1970. Screenprint. Image: 18 1/16 x 27 1/16 in. (45.8 x 68.8 cm.); sheet: 23 1/16 x 31 7/8 in. (58.6 x 81 cm.). Published by Editions Alecto; printed by Alecto Studios. Museum of Modern Art, New York. Peacock Visual Arts' Risograph color chart. Powerhouse Arts Print Shop, Brooklyn. Printer Zaire Anderson coating screens for Avram Finkelstein's Who Died. Powerhouse Arts Print Shop, Brooklyn. With backs turned, left: Chris Kinsler; right: Dennis Hrehowsik. Facing camera, left: Zaire Anderson; right: Dana Zinsser. Powerhouse Arts Print Shop, Brooklyn. Nellie Davis and Kyle Goen working on his giant rainbow roll at Powerhouse Arts Print Shop, Brooklyn. Printer John Bartolo working on a screenprint by Aziz and Cucher at Powerhouse Arts Print Shop, Brooklyn. Powerhouse Arts Print Shop, Brooklyn. Powerhouse Arts Print Shop, Brooklyn. Donald Baechler installation shot. Galerie Forsblom, 2014. Kara Walker (American, born 1969). The Emancipation Approximation, 1999–2000. Portfolio of 26 screenprints. Sheet (each): 45 3/4 x 45 3/4 in (116.2 x 116.2 cm.). Published by Sikkema Jenkins Editions; printed by Jean Yves Noblet. Phillips Auctions, New York. Fourth Estate www.fourthestate.com Alex Dodge (American, born 1977). Unread Messages, 2017. Screenprint. 20 x 30 in. Haystack Editions. USEFUL LINKS Poster House www.posterhouse.org Jungle Press Editions www.junglepress.com Avant Arte www.avantearte.com Radix Media & Graphics NY Printing & Graphics www.nyprintinggraphics.com Du-Good Press www.du-goodpress.com Carousel's Press www.carouselpress.com Kayrock Screenprinting www.shop.kayrock.org Bushwick Print Lab www.bushwickprintlab.org Ulano Corp. www.ulano.com KIWO Inc. www.kiwo.com Guerra Paint & Pigment www.guerrapaint.com Labor statistics on fine artists from the US Bureau of Labor Statistics https://www.bls.gov/oes/current/oes271013.htm#nat

Platemark hosts Ann Shafer and Tru Ludwig offer up a bonus HoP episode featuring a conversation about a single work of art. Occasionally we will drop a BONUS EP ONE PRINT, which will take a single work and pull it apart with an eye toward exploring subject matter, technique, style, and composition. The first of these episodes features the etching Battlefield, 1907, by Käthe Kollwitz. We hope this new kind of conversation resonates, and we'd love to hear your feedback and suggestions for other great prints worthy of a 90-minute episode. Fun fact: Käthe is pronounced KAY-tuh, not Cathy; in Kollwitz, the W sounds like a V. Episode image: Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Pierre-August Renoir. (French, 1841–1919). Luncheon of the Boating Party, 1881. Oil on canvas, The Phillips Collection, Washington, D.C. John Constable (English, 1776–1837). The Hay Wain, 1821. Oil on canvas. 130.2 × 185.4 cm. National Gallery, London. Wassily Kandinsky (Russian, 1866–1944). Composition IV, 1911. Oil on canvas. 62.8 × 98.6 in. (159.5 × 250.5 cm.). Kunstsammlung Nordrhein-Westfallen, Düsseldorf. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Jackson Pollock (American, 1912–1956). Number 1, 1950 (Lavender Mist), 1050. Oil, enamel, and aluminum on canvas. 221 x 299.7 cm (87 x 118 in.). National Gallery of Art, Washington, DC. Marcel Duchamp (American, born France, 1887–1968). The Bride Stripped Bare by Her Bachelors, Even (Large Glass), 1915–23. Oil, varnish, lead foil, lead wire, and dust on two glass panels. 9 ' 1 ¼" × 70" x 3 3/8" (277.5 × 177.8 × 8.6 cm). Philadelphia Museum of Art, Philadelphia. Rembrandt (Dutch, 1606–1669). Militia Company of District II under the Command of Captain Frans Banninck Cocq, also known as The Shooting Company of Frans Banning Cocq and Willem van Ruytenburch (commonly known as The Night Watch), 1642. Oil on canvas. 437 x 363 cm. City of Amsterdam. Henri Matisse (French, 1869–1954). The Blue Nude (Memory of Biskra), 1907. Oil on canvas. 36 1/4 x 55 1/4 in. (92.1 x 140.3 cm.). Baltimore Museum of Art, Baltimore. Mark Rothko (American, 1903–1970). No. 17, 1957. Oil on canvas. 232.5 x 176.5 cm. (91.5 x 69.5 in.). Christies. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAIL] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. [DETAILS] Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). The Ploughmen, no. 1 from the series Peasants War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 31.5 x 45.7 cm (12 3/8 x 18 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Raped, no. 2 from the series Peasants War, 1907–08. Etching, drypoint, sandpaper and softground etching. Plate: 308 x 529 mm. (12 1/8 x 20 13/16 in.). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Sharpening the Scythe, no. 3 from the series Peasants War, 1908. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 11 3/4 × 11 11/16 inches (29.8 × 29.7 cm). Käthe Kollwitz Museum, Cologne. Käthe Kollwitz (German, 1867–1945). Arming the Vault, no. 4 from the series Peasants War, 190

In s3e39, Platemark host Ann Shafer speaks with Sue Coe, an artist and social activist. The pair were joined in the conversation by Tru Ludwig (Sue is one of Tru's art heroes) at Sue's home in the Catskill Mountains, New York. Sue creates art that goes right to the heart of an issue, whether it be animal cruelty, capitalism, authoritarianism, women's rights or any other progressive ideal. Images are sometimes difficult, (TRIGGER WARNING) and the conversation touched on some topics that may be distressing for listeners. Please know the discussion ranges from slaughterhouses and mass killings of animals to sexual violence against women, along with a number of other tough topics. There are also plenty of expletives coming from all corners. Consider this fair warning. Sue, Ann, and Tru talked about veganism, the environment, Käthe Kollwitz, Galerie St. Etienne and famed dealer Hildegard Bachert, placing work at an institution (Sue calls Ann "you poor, sad creature"), and starting a museum just for printmaking. It's quite a conversation. Sue Coe on her deck, our temporary recording studio, Deposit, NY. Sue Coe (English, born 1951). Auschwitz Begins…, 2009. Woodcut. Sheet: 15 ½ x 52 in. (39.4 x 132.1 cm.). Galerie St. Etienne. Sue Coe (English, born 1951). Depopulation, 2020. Linoleum cut. Sheet: 10 3/8 x 8. ½ in. (26.4 x 21.6 cm.). Galerie St. Etienne. Shiko Munakata (Japanese, 1903–1975). The Visit, 1959. Woodcut. Sheet: 130 1/16 x 15 in. (33.2 x 38.1 cm.) Museum of Modern Art, New York. James Gilray (British, 1756–1815). Edward Jenner vaccinating patients in the Smallpox and Innoculkation Hospital of St. Pancras; the patients develop features of cows, 1802. Etching with watercolor. Wellcome Collection, London. Sue Coe (English, born 1951) and Eric Avery (American, born 1949). Zoonotic Spillover, 2023. Linoleum cut with hand coloring. Sheet: 30 x 36 ¾ in. (76.2 x 93.3 cm.). Published by Tarantula Press, Texas A&M University. Sue Coe's carving station. Sue Coe in her studio. Sue Coe pulls open the flat files. Sue Coe (English, born 1951). Fighting the New Jim Crow, 2021. Woodcut. Sue Coe (English, born 1951). Woman Walks into Bar–Is Raped by Four Men on the Pool Table–While 20 Watch, 1983. Mixed media. 7' 7 5/8" x 9' 5 1/4" (232.7 x 287.7 cm.). Museum of Modern Art, New York. Otto Dix (German, 1891–1969). Shock Troops Advance under Gas (Sturmtruppe geht unter Gas vor) from The War (Der Krieg), 1924. Etching, aquatint, and drypoint, from a portfolio of fifty prints. Plate: 7 5/8 x 11 5/16 in. (19.3 x 28.8 cm.); sheet: 13 11/16 x 18 5/8 in. (34.8 x 47.3 cm.). Museum of Modern Art, New York. Sue Coe (English, born 1951). Bush Aids, 1990. Photoetching. Sheet: 15 x 10 7/8 in. (38.1 x 27.6 cm.). Pennsylvania Academy of Fine Arts, Philadelphia. Käthe Kollwitz (German, 1867–1945). Battlefield, no. 6 from the series Peasants' War, 1907. Etching, drypoint, aquatint, sandpaper and softground etching. Plate: 16 ¼ x 20 7/8 in. (41.28 x 53 cm.). Käthe Kollwitz Museum, Cologne. Sue Coe (English, born 1951). Woman Tied to Pole, 1984. Photoetching. 13 1/4 x 9 1/4 in. (33.6 x 23.5 cm.). Installation shot from Sue Coe: Graphic Resistance. MoMA PS1, June 3–September 9, 2018. Ann Shafer and Sue Coe, June 3, 2023.

In this week's episode of Platemark (s3e38), host Ann Shafer talks with Jillian Ross, collaborative master printer and publisher with an eponymous imprint, Jillian Ross Print, in Saskatoon, Saskatchewan, Canada. Ross returned to her native Saskatoon after many years in Johannesburg, South Africa, where she was the master printer at the David Krut Workshop (DKW) from 2003 to 2020. There, she worked with over 100 South African and international artists, most notably William Kentridge. Ross and partner Brendan Copestake founded Jillian Ross Print in 2021 in Saskatoon, where they continue working on collaborative projects in South Africa as well as developing new relationships abroad. Ross has collaborated with William Kentridge since 2006 on major, complicated, and multi-part print projects, including the Triumphs and Laments Woodcuts (2016–21), The Universal Archive (2011–15), The Noses (2006–10) at DKW, and the recently released Studio Life Gravures (2020–22) from Jillian Ross Print (co-published with DKW). Her collaboration with Kentridge continues. Other recent projects include a partnerships with Latitudes Online, South African artists Cinthia Sifa Mulanga and Puleng Mongale, and the technical team at The University of Alberta in Canada. Ross recently realized an exhibition, William Kentridge: The Colander, at Griffin Art Projects in Vancouver, BC, with curator Lisa Baldissera, the Kentridge Studio, and David Krut Projects in Johannesburg. Throughout her work, particularly in the publicly accessible open-studio format of DKW at Arts on Main in Johannesburg, Ross has promoted and enhanced artist, collector, and public knowledge of printmaking through mentorship, educational workshops, and knowledge sharing. Episode image: Lucy MacGarry USEFUL LINKS https://www.jillianrossprint.com https://www.instagram.com/jillianrossprint_/ https://www.facebook.com/jillian.ross.520 https://www.linkedin.com/in/jillianrossprint https://www.griffinartprojects.ca/exhibitions/william-kentridge-the-colander https://latitudes.online/artworks.html https://latitudesartfair.com/about-the-event/ https://remaimodern.org/about/remai-modern-museum/ Jillian Ross working on William Kentridge's photogravure plates at the University of Alberta, Edmonton. Jillian Ross (on ladder) working on William Kentridge prints at David Krut Workshop, Johannesburg, South Africa. William Kentridge looks at a print with (from l-r) Brendan Copestake, David Krut, Jillian Ross, Roxy Kaczmarek, and Kim-Lee Loggenberg. Jillian Ross (right) inspecting proofs with (from l-r) Sarah Judge, David Krut, and William Kentridge at David Krut Workshop, Johannesburg, South Africa. William Kentridge (South African, born 1955). Studio Life: Hope? On special offer, 2022. Photogravure and drypoint with Arakaji Natural Gampi and White Gampi MM20 chine collé on Hahnemühle Natural White 300gsm paper. Sheet: 17 3/10 × 21 3/10 in. (44 × 54 cm.); plate: 9 ¼ x 16 ½ in. (23.4 x 42 cm.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Universal Archive: Big Tree, 2012. Linoleum cut on 15 sheets of Encyclopedia Britannica pages. Sheet: 82 x 90 cm. (32 ¼ x 35 3/8 in.); image: 77 x 72.4 cm. (30 3/8 x 28 ½ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Nose: #25, 2009. Drypoint, etching, and liftground aquatint. Plate: 35 x 14.9 cm. (13 ¾ x 6 in.); sheet: 40 x 35 cm. (15 ¾ x 13 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Triumphs and Laments: Refugees, 2018–19. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. Jillian Ross creating assembly instructions, charts, and maps for Kentridge's Triumphs and Laments, 2018–19. Jillian Ross working on the complicated print Triumphs and Laments: Refugees, 2018–19, by William Kentridge. 26 woodcuts printed on 77 sheets. Overall: 188 x 350 cm. (74 x 137 ¾ in.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum cut on Somerset Velvet Soft White 300 gsm. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa. William Kentridge | The Colander. Exhibition curated by Lisa Baldiserra. Griffin Art Projects, Vancouver, BC. May 29–September 4, 2021. William Kentridge and DKW printer Kim-Lee Loggenberg. A scene from William Kentridge's Self-Portrait as a Coffee Pot. Giorgio Morandi (Italian, 1890–1964). Grande natura morta con la caffettiera (Large Still Life with Coffeepot), 1933, printed later. Etching. Plate: 11 11/16 x 15 3/8 in. (29.7 x 39 cm.); sheet: 15 1/16 x 20 1/8 in. (38.3 x 51.1 cm.). Published by Calcografia Nazionale, Rome. Museum of Modern Art, New York. William Kentridge (So

In the second part of their conversation, Ann Shafer and printer/publisher Phil Sanders continue talking about the state of the printmaking ecosystem. They talk about why supporting artists is important even if you don't like what they are doing, why that new Julie Mehretu set of etchings costs $250K, the imminent brain drain among our elder printers, and the importance of art and creativity to humanity's survival. Cynthia Bringle (American, born 1939). Blue Covered Jar with Fish. Ceramic. 21 inches tall. Rembrandt (Dutch, 1606–1669). The Three Trees, 1643. Etching, engraving, and drypoint. Plate: 8 3/8 x 10 15/16 in. (21.3 x 27.8 cm.); sheet: 8 3/8 x 11 1/8 in. (21.3 x 28.3 cm.). Metropolitan Museum of Art, New York. Pablo Picasso (Spanish, 1881–1973). Woman with Bangs, 1902. Oil on canvas. 61.3 x 51.4 cm. Baltimore Museum of Art, Baltimore, MD. Joan Mitchell (American, 1925–1992). Bracket, 1989. Oil on canvas. 102 1/2 x 181 7/8 in. (260.35 x 461.96 cm.). San Francisco Museum of Modern Art, San Francisco, CA. ©Estate of Joan Mitchell. Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA. Phil Sanders giving tour of the booth of Kingsland Editions at the Baltimore Fine Art Print Fair, 2023. Still from Stanley Kubrick's 2001: A Space Odyssey. USEFUL LINKS PS Marlowe https://psmarlowe.com/ Phil's IG @phil_sanders_studio Phil's FB https://www.facebook.com/phil.sanders.printmaking

In s3e36, Platemark host Ann Shafer speaks with printer/publisher and author Phil Sanders about the state of the ecosystem. Phil has a finger in nearly every pie in the ecosystem, so after a Platemark listener wrote in to ask about breaking into the publishing end of things, Ann turned to Phil. They talk about the history of print publishing after the print boom quieted down in the 1980s, why the prices of prints are in need of revision, and how to read a Joan Mitchell painting, among many other things. Their conversation stretches well past two hours and so Ann split it into two episodes. Phil Sanders. Prints and Their Makers. Hudson, NY: Princeton Architectural Press, 2021. Sara Sanders (American, born 1979). Ballinglen Wildflowers 1-11, 2022. Watercolor monotype. 11 ¾ x 8 ¾ in. (30 x 22.2 cm.). Published by PS Marlowe, Asheville, NC. Jasper Johns (American, born 1930). False Start I, 1962. 11-color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY. Jasper Johns (American, born 1930). False Start II, 1962. Color lithograph. Plate: 44.5 × 35 cm. (17 9/16 × 13 13/16 in.); sheet: 76 × 56.7 cm. (29 15/16 × 22 3/8 in.). Published by Universal Limited Art Editions, Bayshore, NY. Jasper Johns (American, born 1930). Bushbaby, 2004. Intaglio in 10 colors. Sheet: 43 x 30 in. (109.22 x 76.2 cm.). Published by Universal Limited Art Editions, Bayshore, NY. Amy Cutler (American, 1974). Cake Toss, 2004. 10-color lithograph. 21 3/4 x 24 in. (55.25 x 60.96 cm.). Published by Universal Limited Art Editions, Bayshore, NY. Julie Mehretu (American, born Ethiopia, 1970). This Manifestation of Historical Restlessness, (from Robin's Intimacy), 2022. 10-panel etching/aquatint from 50 plates. Overall: 93 1/2 x 173 1/8 in. (237.49 x 439.74 cm.). Published by Gemini G.E.L., Los Angeles, CA. USEFUL LINKS PS Marlowe https://psmarlowe.com/ Phil's IG @phil_sanders_studio Phil's FB https://www.facebook.com/phil.sanders.printmaking

In s3e35, Platemark host Ann Shafer talks with Larissa Goldston, director and owner of Universal Limited Art Editions, usually referred to by its acronym ULAE. We talk about ULAE's founder Tatyana Grosman, and her harrowing escape from first Siberia following the assassination of Czar Nicholas, and then from the Nazis in France. Larissa talks about the early days of ULAE, growing up there, how they find artists to work with, and all her favorite print projects. Larissa's father, Bill Goldston, was its printer and director for many years. With his retirement, Larissa has taken the reigns. It's hard work, but the combination of the creative process and collaborative printmaking is where the magic happens. Larry Rivers (American, 1923–2002). Stones, 1957–59. Portfolio of 12 lithographs with poetry by Frank O'Hara. Each sheet: 19 x 23 1/4 in. (48.26 x 59.06 cm). Published by Universal Limited Art Editions, West Islip, NY. James Siena (American, born 1957). Backs, 2007. Set of 5 framed lithographs. Each: 23 ½ x 24 ½ in. (59.7 x 62.2 cm.). Published by Universal Limited Art Editions, West Islip, NY. Barnett Newman (American, 1905–1970). Untitled Etching #1, 1968–69. Intaglio with etching and aquatint. on J.B. Green Hayle Mill English paper. 22 1/2 x 31 3/4 in. (57.15 x 80.65 cm). Published by Universal Limited Art Editions, West Islip, NY. Lee Bontecou (American, ). Ninth Stone, 1965–68. Lithograph in 1 color on Chatham British paper. 20 in. x 25 in. (50.8 cm x 63.5 cm) Published by Universal Limited Art Editions, West Islip, NY. Helen Frankenthaler (American, 1928–2011). First Stone, 1961. Lithograph in 5 colors on Arches Satine paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY. Cy Twombly (American, 1928–2011). Untitled I, 1967–74, 1967. Intaglio with etching, open bite, and aquatint on handmade J. Green paper. 27 1/2 x 40 1/2 in. (69.85 x 102.87 cm). Published by Universal Limited Art Editions, West Islip, NY. Jasper Johns (American, born 1930). 0 through 9, 1960. Lithograph on Arches paper. 30 x 22 in. (76.2 x 55.88 cm). Published by Universal Limited Art Editions, West Islip, NY. Jasper Johns (American, born 1930). Decoy, 1971. Lithograph with die-cut on Rives BFK paper. 41 x 29 in. (104.14 x 73.66 cm). Published by Universal Limited Art Editions, West Islip, NY. Jasper Johns (American, born 1930). Passage I, 1966. Lithograph on Italia paper. 28 x 36 in. (71.12 x 91.44 cm). Published by Universal Limited Art Editions, West Islip, NY. Bill Jensen (American, born 1945). Vanquished, 1989. Intaglio in 5 colors on Fabriano Esportazione paper. 22 1/2 x 17 3/4 in. (57.15 x 45.09 cm). Published by Universal Limited Art Editions, West Islip, NY. Terry Winters (American, born 1949). Knot, 2004. Lithograph in 4 colors on Rives BFK 280 gsm paper. 22 x 30 in. (55.88 x 76.2 cm). Published by Universal Limited Art Editions, West Islip, NY. Carroll Dunham (American, born 1949). Accelerator, 1985. Lithograph in 4 colors on Rives BFK paper. 42 x 29 3/4 in. (106.68 x 75.57 cm). Published by Universal Limited Art Editions, West Islip, NY. Christopher Wool (American, born 1955). Untitled, 2013. Lithograph in 2 colors on J. Whatman handmade paper. 30 1/2 x 22 1/2 in. (77.47 x 57.15 cm). Published by Universal Limited Art Editions, West Islip, NY. Charline von Heyl (German, born 1960). Shenanigan, 2020. Intaglio with relief and lithography on En Tout Cas paper. 24 5/8 x 20 1/8 in. (62.5 x 51.1 cm). Published by Universal Limited Art Editions, West Islip, NY. Jane Hammond (American, born 1950). Clown Suit, 1995. Three-dimensional lithograph and silkscreen in 24 colors on handmade Chiri paper. 55 x 39 x 10 in. (139.7 x 99.06 x 25.4 cm). Published by Universal Limited Art Editions, West Islip, NY. Elizabeth Murray (American, 1940–2007). Shack, 1994. Three-dimensional lithograph in 20 colors. Overall: 63 x 51 x 2 in. (160 x 129 x 5 cm.). Published by Universal Limited Art Editions, West Islip, NY. Wyatt Kahn (American, born 1983). New Houston Street (9-color woodcut), 2022. Woodcut in 9 colors on Saunders Waterford paper. 71 1/2 x 55 3/4 in. (181.6 x 141.6 cm. Published by Universal Limited Art Editions, West Islip, NY. Wyatt Kahn carving woodblock at ULAE. Bruce Wankel printing Wyatt Kahn's woodcut, New Houston Street (9 color woodcut), 2022. Robert Rauschenberg (American, 1925–2008). Soviet/American Array I, 1988–89. Intaglio in 14 colors with collage on Saunders with Oriental rice paper. 88 1/2 x 53 1/2 in. (224.79 x 135.89 cm). Published by Universal Limited Art Editions, West Islip, NY. Suzanne McClelland (American, born 1959). Tea Leaves, 1996. Lithograph and screenprint in 4 colors with collage on Torinoko paper. 86 x 108 in. (218.44 x 274.32 cm). Published by Universal Limited Art Editions, West Islip, NY. Christopher Wool (American, born 1955). Untitled 1, 2021. Portfolio of four intaglios on Arches En Tout Cas paper. 20 x 17 in. (50.8 x 43.18 cm). Published by Universal Limited

In s3e34, Platemark host Ann Shafer speaks with Jason Scuilla, artist and professor at Kansas State University in Manhattan, KS. The university is hosting the Mid America Print Council conference in the fall of 2024, and Jason was eager to talk about the conference and its call for proposals of all sorts. The deadline is the end of September 2023; the link is https://fromtheashes.k-state.edu/. In addition to the MAPC conference, Ann was eager to speak with Jason about his research into electrolytic etching, a non-toxic method of creating superbly detailed, precise, and rich etchings. They also talk about teaching undergrad and grad students, sabbaticals, as well as Jason's own work. Episode image: Melissa Scuilla Konza Prairie, Flint Hills, Kansas. Mid America Print Council conference homepage. Hale Library Great Hall, Kansas State University, Manhattan, KS. Crayola's Colors of the World markers. Michelangelo (Italian, 1475–1564). The Last Judgment, 1536–41. Fresco. 13.7 m × 12 m (45 × 39 ft.). Sistine Chapel, Vatican City. Rembrandt (Dutch, 1606–1669). The Windmill, 1641. Etching. Sheet: 5 7/8 x 8 5/16 in. (15 x 21.1 cm.). Metropolitan Museum of Art, New York. Francisco de Goya (Spanish, 1746–1828). Plate 43 from Los Caprichos: The sleep of reason produces monsters (El sueño de la razon produce monstruos), 1799. Etching and aquatint. Plate: 8 3/8 x 5 15/16 in. (21.2 x 15.1 cm.); sheet: 11 5/8 x 8 1/4 in. (29.5 x 21 cm.). Metropolitan Museum of Art, New York. Student interpretations of Goya Caprichos etchings for the first project in Intro to Printmaking Techniques class at Kansas State University. Student interpretations of Goya Caprichos etchings for the first project in Intro to Printmaking Techniques class at Kansas State University. Frank and Dorothy Getlein. The Bite of the Print: Satire and Irony in Woodcut, Engravings, Etchings, and Lithographs. New York: Bramhall House, 1963. Francisco de Goya (Spanish, 1746–1828). Plate 11 from The Disasters of War (Los Desastres de la Guerra): Neither do these (Ni por esas), c. 1810. Etching, drypoint, and burin. Plate: 6 5/16 × 8 3/8 in. (16.1 × 21.2 cm.); sheet: 8 3/8 × 12 3/4 in. (21.3 × 32.4 cm.). Metropolitan Museum of Art, New York. Jason Scuilla (American, born 1980). Veduta. Electrolytic etching. 12 x 9 in. Jason Scuilla (American, born 1980). Echoes of Rome: Villa with Spirits. Multiplate electrolytic etching. Plate: 16 x 12 in. Jason Scuilla (American, born 1980). Monk with Fantastic Digit. Electrolytic etching. 12 x 9 in. Jason Scuilla (American, born 1980). Proxy War Monument (King Covid). Electrolytic etching. Plate: 32 x 24 in. [DETAIL] Jason Scuilla (American, born 1980). Proxy War Monument (King Covid). Electrolytic etching. Plate: 32 x 24 in. Jason Scuilla (American, born 1980). Plate for Proxy War Monument (King Covid). Electrolytically etched copper plate. Plate: 32 x 24 in. Jason Scuilla (American, born 1980). Arsenale. Multi-plate electrolytic etching and acid etching. Plate: 12 x 9 in. Jason Scuilla (American, born 1980). Stone Head. Monotype, stencil, relief, and drawing. 22 x 15 in. Jason Scuilla (American, born 1980). Proxy War Monument with Abductee. Color etching. Plate: 16 x 12 in. Jason Scuilla (American, born 1980). Proxy War Monument (Self Portrait). Multiplate color electrolytic etching. Plate: 16 x 12 in. Large bath for electrolytic etching, Kansas State University. Testing area for electrolytic etching, Kansas State University. Didactic explaining the NEA grant for electrolytic etching, Kansas State University. Jason Scuilla welcoming members of the Print Council of America to the printshop at Kansas State University in 2019. Copper plate going into the bath for electrolytic etching, Kansas State University. USEFUL LINKS Jason's website: www.jasonscuilla.com Instagram: @jscuilla Mid America Print Council: www.mapc2024.com MAPC conference website: https://fromtheashes.k-state.edu/ KState grad program: https://art.ksu.edu/ Link to Leonardo article: https://direct.mit.edu/leon/article-abstract/54/4/427/97277/An-Optimized-Nontoxic-Electrolytic-Etching Link to MET lecture: https://www.metmuseum.org/events/programs/met-speaks/free-lectures/conversation-etchings The Bite of the Print book: https://www.amazon.com/Woodcuts-Engravings-Etchings-Lithographs-Serigraphs/dp/B0006AY31Q Course Trailer: Printmaking during Civil Unrest and Challenging Times: https://youtu.be/5MNQiYl_xPk This episode exists as a YouTube video as well. Here's the link: https://youtu.be/tjsvRWdC8V0

In s3e33, Platemark podcast host Ann Shafer talks with Ruth Lingen, printer and owner of Line Press Limited, located in the Dumbo neighborhood of Brooklyn. Line Press Limited does just about everything except screenprinting. Ruth is a jack-of-all-trades, and loves book arts the most, from papermaking to typesetting to printing and binding. After studying with the legendary Walter Hamady, Ruth got her start in New York with Joe Wilfer in the very early days of Pace Prints. She printed for many artists while at Pace, including Chuck Close and Jim Dine (for whom she still prints every summer in Walla Walla). Ruth worked closely with Bill Hall and Julia D'Amario at Pace, both of whom are previous guests on Platemark: Bill is featured in s3e6 and Julia appears in s3e15. Ruth has collaborated with more than 50 of the world's greatest artists—on prints (some for Pace editions, some on her own) and very special limited edition artist books. In addition to Dine and Close, she has collborated on editions with such art-world luminaries as Robert Ryman, Mary Heilmann, Kiki Smith, Claes Oldenberg, Bob Holman, Robert Creeley, Jessica Stockholder, Jeremy Sigler, Donald Traever, Al Held, and John Chamberlain. Lingen's work can be found in the collection of The Metropolitan Museum of Art, The Getty, and the Brooklyn Museum, as well as in more than 20 libraries, from the New York Public Library to the Harvard University Library. Louise Nevelson (American, born Ukraine, 1899–1988). Untitled, 1985. Cast paper relief. 14 x 14 ¼ in. Published by Pace Editions. Edition of 250. Suzanne Anker (American, born 1946). Organic Abstract Cast Paper Sculpture, 1990. 20 x 20 in. Unique. Chuck Close (American, 1940–2021). Emma, 2002. Woodcut in the Ukiyo-e style. 43 x 35 in. (109.2 x 88.9 cm.). Published by Pace Editions. Edition of 55. Chuck Close (American, 1940–2021). Phil / Manipulated, 1982. 24-color handmade paper. Published by Pace Editions. Edition of 20. Chuck Close (American, 1940–2021). Roy Paper/Pulp, 2009. Stenciled handmade paper. 35 ½ x 28 ½ in. Published by Pace Editions. Edition of 30. Chuck Close (American, 1940–2021). Self Portrait/Spitbite, 1988. Spitbite etching. Sheet: 20 ½ x 15 5/8 in. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Lucas/Woodcut, 1993. Color woodcut with color stencil (pochoir). Sheet: 1181 × 914 mm. (46 1/2 × 36 in.). Baltimore Museum of Art. Published by Pace Editions. Edition of 50. Chuck Close (American, 1940–2021). Self-Portrait I (Dots), 1997. Reduction linoleum cut. 24 x 18 in. Published by Pace Editions. Edition of 70. Ed Ruscha (American, born 1937). Clown Speedo, 1998. Aquatint. Sheet: 36 x 26 ½ in.; plate: 27 ¾ x 20 in. Published by Pace Editions. Edition of 35. Francesco Clemente (American, born Italy, 1952). Art Pro Choice II, 1991. Three-color relief print. Sheet: 20 x 16 in. Published by NARAL. Edition of 125. Alan Shields (American, 1944–2005). Synchromesh, from the series Soft and Fluffy Gears, 1987. Punched, glued, sewn, and assembled handmade paper. Sheet: 21 x 18 ½ in. Co-published by Pace Editions and Tandem Press. Edition of 15. Michael Young (American, born 1952). Impossibility of Perpetual Motion I, 1990. Relief print with screenprint and sand. 33 1/2 x 29 ¼ in. Published by Spring Street Workshop. Edition of 35. Jane Hammond (American, born 1950), Untitled (monoprint), 2008. Relief print with collage elements created using lithography, linoleum cut, rubber stamp, digital and relief printing, with additional watercolor and hand coloring by the artist. 30 x 22 in. Published by Pace Editions. Unique. Jim Dine (American, born 1955). A Garden, 2010. Two-color woodcut. Sheet: 58 x 44 in. Edition of 12. Jim Dine (American, born 1955). The Felt Skull, 1994. Woodcut on felt. 39½ x 31 ½. Published by Pace Editions. Edition of 7. Jim Dine (American, born 1935). Love and Grief, 1992. Diptych of woodcuts with hand coloring. Overall: 41¼ × 65½ in. (105 × 166 cm.). Published by Pace Editions. Edition of 17. Jim Dine (American, born 1935). The Orange Birthday Bathrobe, 2010. Lithograph, woodcut, etching, and rubber stamp. Sheet: 138.4 x 97.8 cm. Cristea Roberts Gallery. Edition of 28. Jim Dine (American, born 1935). Bleeding Boy, 2008. Linoleum cut. Image: 64 3/4 × 38 5/8 in. (164.5 × 98.1 cm.); Sheet: 68 1/4 × 40 in. (173.4 × 101.6 cm.). Allen Memorial Art Museum, Oberlin College. Edition of 14. Jim Dine (American, born 1935). Raven on Lebanese Border, 2000. Softground etching and woodcut with white hand coloring. Sheet: 781 × 864 mm. (30 3/4 × 34 in.); plate: 676 × 768 mm. (26 5/8 × 30 1/4 in.). Baltimore Museum of Art, Baltimore, MD. Published by Pace Editions. Edition of 8. Robert Ryman (American, 1930–2019). Conversion, 2001. Three-color relief print on aluminum. 15 x 15 in. Published by Pace Editions. Edition of 25. John Chamberlain (American, 1927–2011). Conversations with Myself, 1992. Artist book, with letterpess and additional drypoint print. Page: 6 x

What is it about prints and printmaking that draws such fervent practitioners, collectors, and fans? How are prints relevant to all our lives? What do all those people in the "print ecosystem" do anyway? Give Platemark a listen. Platemark podcast's host Ann Shafer looks at prints and printmaking in the context of museums, the market, critiques, and the print ecosystem in series one. Series two offers a history of prints and printmaking in the West. Series three offers interviews with the colorful characters of the print ecosystem, which is full of the nicest people in the art world. Join us and the wonderful fans of prints and printmaking. Platemark podcast offers a bit of art history, artistic creativity, and introduces listeners to artists, printers, dealers, print publishers, gallerists, art historians, curators, and scholars. Episodes are released on Tuesdays. Images for each episode are available in the show notes at platemarkpodcast.com.

In s3e32 of Platemark, host Ann Shafer speaks with Ad Stijnman, an independent scholar of historical printmaking processes, specializing in manual intaglio printmaking techniques. He is also a professional printmaker. Ad is the go-to guy on all sorts of things. When he speaks, we listen. Beaming in from Amsterdam, our conversation covers all sorts of topics from paper sizing and watermarks to acids and chine collé. We talk about teaching people to look, really look, and be able to describe what they are seeing. We talk about the troubling lack of an internationally shared vocabulary—what color is fawn or taupe, anyway? We talk about why neither of us wears gloves to handle works on paper except in very special circumstances. And, we talk about producing an invaluable and exhaustive (if not complete) list of terms and abbreviations found in print addresses: https://9ea6427a-9293-483f-80d4-9523d4ed999b.filesusr.com/ugd/6b3a67_c8b34f39781542deabab39e8c132c430.pdf. Ad has lectured and published widely on the materials and techniques of intaglio processes going back to their beginnings. His seminal, award-winning book Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes (2012) is on any serious scholar's bookshelf. Together with Elizabeth Savage, he co-edited the award-winning book Printing Colour 1400–1700: History, Techniques, Functions and Receptions (2015). His curatorial activities include exhibitions on medieval prints, early modern colour prints and Rembrandt's etchings on Japanese paper. Ad Stijnman (Netherlandish, born 1957). Nagasaki Ki, 2007. Installation of ten prints: engraving, mezzotint, relief etching, white Johannot paper. Each print 50 x 32.5 cm.; overall size 200 x 140 cm. Julian Trevelyan. Etching: Modern Methods of Intaglio Printmaking. New York: Watson-Guptill Publications, 1964. Ad Stijnman. Etsvademecum. De Bilt: Cantecleer, 1985. Virtuelles Kupferstichkabinett: http://www.virtuelles-kupferstichkabinett.de/de/. Rembrandt van Rijn (Dutch, 1606–1669). The Three Crosses, 1653. Drypoint on vellum. Plate: 37.2 x 42.8 cm (14 5/8 x 16 7/8 in.); sheet: 37.8 x 44.1 cm (14 7/8 x 17 3/8 in.). National Gallery of Art, Washington, D.C. Ad Stijnman, ed. Engraving and Etching 1400–2000: A History of the Development of Manual Intaglio Printmaking Processes. Paderborn, Germany: Brill | Hes & De Graaf, 2012. Ad Stijnman and Elizabeth Savage, eds. Printing Colour 1400–1700: History, Techniques, Functions and Receptions. Amsterdam: Brill, 2015. Yuriko Miyosi (Japanese, born 1962) and Ad Stijnman (Netherlandish, born 1957). 24 Roundels, 2020. Circular papers by Miyosi, plates and printing by Stijnman. Colour inks, chine collé, goldleaf. Each roundel: approximately 12 cm. Marion Bouwhuis (Netherlandish, born 1951), Yuriko Miyosi (Japanese, born 1962), and Ad Stijnman (Netherlandish, born 1957). Covid 19 Exchange Print. Etching printed in blue on white Arches by Bouwhuis, pink circular paper by Miyoshi, etching printed in purple with chine collé and goldleaf by Stijnman. Sheet: 25 x 32.5 cm. Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on chine collé on white Zerkall paper. Plate: 16 x 21.6 cm. Ad Stijnman (Netherlandish, born 1957). Column, 1999. Mezzotint on white Zerkall paper. Plate: 16 x 21.6 cm. Joris Hoefnagel (Flemish, 1542–1600). Plate 10: A Lion and a Civet Cat from Volume II, Animalia Qvadrvpedia et Reptilia (Terra), c. 1575–80. Watercolor and gouache on vellum. Page: 14.3 x 18.4 c.m (5 5/8 x 7 ¼ in.). National Gallery of Art, Washington, D.C. Scholarly Colloquium: Telling the From Jikji to Gutenberg Story. 2023. Video. Retrieved from the Library of Congress, www.loc.gov/item/webcast-10808. James Ensor (Belgian, 1860–1949). Death Chasing the Flock of Mortals, 1896. Etching. Plate: 23.7 × 18.1 cm. (9 3/8 × 7 3/16 in.); sheet: 29 × 22.1 cm. (11 7/16 × 8 3/4 in.). Art Institute of Chicago, Chicago. HELPFUL LINKS Ad Stijnman's scholarly website: https://tulip88x.wixsite.com/ad--stijnman. Ad Stijnman's list of terms and abbreviations in print addresses: https://9ea6427a-9293-483f-80d4-9523d4ed999b.filesusr.com/ugd/6b3a67_c8b34f39781542deabab39e8c132c430.pdf. Association of Print Scholars: https://printscholars.org/.

In s2e29, Platemark hosts Ann Shafer and Tru Ludwig talk about Claude Lorrain, the arbiter of landscape painting in the 17th century. He worked most of his life in Rome and elevated landscape as a subject up the academic hierarchy by including small figural groups and naming the compositions with mythological or biblical subjects. He's known by various names that can be confusing. He was born Claude Gelée in the independent duchy of Lorraine, which is why the French call him le Lorrain. The English, who collected his works assiduously and even now have the highest number of his works (by country), refer to him simple as Claude. He created an amazing cache of ink and wash drawings of each of his painted compositions in a first catalogue raisonné of sorts. He dubbed this book the Liber Veritatis («the book of truth»). Claude told his biographer Filippo Baldinucci that he kept the record as a defense against others passing off his work as theirs. This bound group of drawings was collected and owned by the Dukes of Devonshire from the 1720s until 1957 when it was given to the British Museum (in lieu of estate taxes upon the death of Victor Christian William Cavendish, the 9th Duke of Devonshire). While Claude died in 1682, his renown in England was enough to prompt the print publisher John Boydell to hire artist Richard Earlom to create prints after the drawings nearly one hundred years after Claude's death. Two hundred etchings with mezzotint were created between 1774 and 1777, and were published in two volumes as Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings.... Later, a third volume of an additional 100 prints was published in 1819. Earlom used etching to mimic Claude's ink lines and mezzotint for the wash areas. They were printed in brown ink to mimic iron gall ink. Hugely influential in England, the books were popular with collectors and were used by artists as models for copying. The Liber Veritatis also inspired J.M.W. Turner to produce a similar project of 71 prints after Turner's painted compositions, which he called Liber Studiorum. They may appear old fashioned to contemporary viewers, but rest assured, landscape was just getting its legs under it. Boring imagery? Maybe. But important for our story of the history of prints in the West. Episode image: Claude Lorrain (French, c. 1600–1682). Seaport with Ulysses Returning Chryseis to Her Father, c. 1644. Pen and brown ink with brown and blue wash, heightened with white on blue paper. 19.8 x 26.2 cm. British Museum, London. Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles. Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Stigmatization of St. Francis, after the painting in the Church of the Capuccines, Urbino, c. 1575. Etching, engraving, and drypoint. Plate: 228 x 145 mm. (9 x 5 ¾ in.). Achenbach Foundation for Graphic Arts, Fine Arts Museum of San Francisco. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York. Rembrandt (Dutch, 1606–1669). Christ Crucified between the Two Thieves: The Three Crosses (iv/iv state), c. 1660. Drypoint. Sheet (trimmed to platemark): 15 1/16 x 17 1/2 in. (382 x 444 mm.). Metropolitan Museum of Art, New York. Annibale Carracci (Italian, c. 1557–c. 1642). St. Jerome in the Wilderness, c. 1591. Etching and engraving. Sheet (trimmed to platemark) : 24.8 x 19.2 cm. (9 ¾ x 7 9/16 in.). Metropolitan Museum of Art, New York. Guido Reni (Italian, 1575–1642). The Holy Family, c. 1595–1600. Etching and engraving. Sheet (trimmed to platemark): 20 x 14 cm. (7 7/8 x 5 12 in.). Metropolitan Museum of Art, New York. Jusepe de Ribera (Spanish, 1591–1652). The Penitence of St. Peter. 1621. Etching and engraving. Sheet (trimmed to platemark): 31.8 x 24.2 cm. (12 ½ x 9 ½ in.). Metropolitan Museum of Art, New York. Salvator Rosa (Italian, 1615–1673). Jason and the Dragon, 1663–64. Etching and drypoint. Plate: 13 5/16 × 8 9/16 in. (33.8 × 21.8 cm.); sheet: 14 5/16 × 9 15/16 in. (36.4 × 25.3 cm.). Metropolitan Museum of Art, New York. Gian Lorenzo Bernini (Italian, 1598–1680). The Ecstasy of Saint Teresa, 1647-52. White marble set in an elevated aedicule in the Cornaro Chapel, Santa Maria della Vittoria, Rome. Caravaggio (Italian, 1571–1610). Conversion of Saint Paul on the Way to Damascus, 1600–01. Oil on canvas. 230 × 175 cm. (91 × 69 in.). Santa Maria del Popolo, Rome. Andrea

In s3e31 of Platemark, host Ann Shafer speaks with Lothar Osterburg, artist, professor and leading expert on the fine art of photogravure. These are basically photographs transferred to copper plates and printed as etchings. (It's, of course, more complicated than that.) In this way, it is possible to get images to print with continuous tone, as opposed to half-tone, or stepped biting. The results are luminous photographs printed with printer's ink. It's a result that cannot be achieved in any other way. Of course, one can manipulate the plate after etching the photographic image into it, adding drypoint, engraving, and even further etching. These hybridizations are intriguing, rare, and special. There are very few practitioners who are truly experts in it. Lothar helps us understand the process, and we take a look at both his work as a master printer at Crown Point Press in the 1990s, and his own work in which he builds sculptures (often in miniature) and photographs them to create eerie scenes that recall the antique and conjure fantasy. Episode image: Elizabeth Brown Christian Boltanski (French, 1944–2021). Untitled, from the portfolio Gymnasium Chases, 1991. Portfolio of 24 photogravures. Plate: 461 x 319 mm. (18 1/8 x 12 9/16 in.); sheet: 592 x 419 mm. (23 5/16 x 16 ½ in.). National Gallery of Art, Washington, D.C. John Baldessari (American, 1931–2020). Hand and Chin (with Entwined Hands), 1991. Photogravure with color spit bite aquatint. Plate: 24 x 14 in.; sheet: 33 x 22 in. Published by Crown Point Press. Markus Raetz (German, 1941–2020). Reflexion, 1991. Set of three photogravures with aquatint. Plate (each): 19 x 26 in.; sheet (each) 36 x 42 in. Published by Crown Point Press. Francis Bacon's studio at 7 Reece Mews, London, 1998. Photo: Perry Ogden. © Estate of Francis Bacon. Lothar Osterburg (American, born Germany, 1961). Lunch Box Studio, 2022. Lunch Box, lens, paper, paint, LED lights. 10 ½ x 5 x 8 in. Lothar Osterburg (American, born Germany, 1961). Gloomy Artist's Studio, 2022. Photogravure with surface roll. 11 x 11 in. Lothar Osterburg (American, born Germany, 1961). The Tower of Babel, 2017. Wood, cardstock, and book pages. 7 x 7 x 28 feet. 2017. Installation at the Esther Massry Gallery, Albany, New York. Ole Worm (Danish, 1588–1654). Frontispiece from Museum Wormianum seu Historia Rerum Rariorum. Amsterdam: 1655. Special Collections, University of Reading. Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2022. Wood, lens, Japanese, silk, buttons, metal, paper, and LED lights. 11 x 13 x 9 in. Lothar Osterburg (American, born Germany, 1961). Cabinet of Buttons, 2023. Photogravure with surface roll. 11 x 11 in. Rembrandt (Dutch, 1606–1669). St. Jerome in a Dark Chamber, 1642. Etching, engraving, and drypoint. Sheet (trimmed to platemark): 6 × 6 15/16 in. (15.3 × 17.6 cm.). Metropolitan Museum of Art, New York. Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2022. Wood, paper, glass, LED lights. Lothar Osterburg (American, born Germany, 1961). Portfolio Review, 2023. Photogravure. 16 x 21 in. Lothar Osterburg (American, born Germany, 1961). A Shakerbox Full of Chairs, 2022. Shaker box with lens, paper, LED lights. 11 x 8 x 5 in. Lothar Osterburg (American, born Germany, 1961). A Room Full of Chairs, 2023. Photogravure with surface roll. 10 x 14 in. Leo Zhao (American, born 1999). Printmaker's Aquarium, 2023. Various techniques. Sheet: 30 x 44 in. Key to techniques used.

In this bonus episode, Platemark host Ann Shafer coaxed co-host Tru Ludwig into talking about being an artist and art historian, and how being a professor in both disciplines plays out. It's a fascinating confluence of ideas and passions in one person. Fun fact: Käthe Kollwitz is Tru's patronus. Another fun fact, Käthe is pronounced Kay-tuh. Tru's website: thepurplecrayonpress.com.

In Platemark s3e30, host Ann Shafer speaks with Ruth Fine, retired curator from the National Gallery of Art. Ruth was curator of modern prints and drawings there from 1980–2002, followed by an additional period working on special projects in modern art. Since her retirement in 2010, Ruth has been working on exhibition and writing projects, as well as sitting on the boards of the Roy Lichtenstein Foundation, the Helen Frankenthaler Foundation, and others. As we are releasing this episode, Ruth has an exhibition up at the Phillips Collection featuring the photographic output of Frank Stewart. The show is up June 10–September 3, 2023. Ruth is not only a consummate scholar, but also is an artist herself, bringing to her scholarship a deep understanding of making. She knew well many of the artists who were the subjects of her projects and she has wonderful stories to tell. Join our new FB group to talk about prints, printmaking, and Platemark: https://www.facebook.com/groups/234857906002771 Episode image © Frank Stewart Lessing Rosenwald's residence Alverthorpe in Jenkintown, PA, now houses the Abington Art Center. The catalogue raisonné of the print workshop Gemini G.E.L. at the National Gallery of Art, Washington, D.C. Mary Lee Corlett and Ruth Fine. The Prints of Roy Lichtenstein: A Catalogue Raisonné 1948–1993. Washington D.C.: National Gallery of Art, 1994. Ruth Fine and Robert Looney. The Prints of Benton Murdoch Spruance: A Catalogue Raisonné. Philadelphia: University of Pennsylvania Press, 1986. David Bindman et al. Body Language: The Art of Larry Day. Exh cat. Woodmere Art Museum. Philadelphia: University of Pennsylvania Press, 2021. Ruth Fine et al. Frank Stewart's Nexus: An American Photographer's Journey, 1960s to the Present. Exh cat. The Phillips Collection. New York: Rizzoli, 2023. Helen Frankenthaler (American, 1928–2011). Untitled, 1967. Four-color screenprint. 25 3/4 x 17 7/8 in. (65.4 x 45.4 cm.). © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), NY / Chiron Press, NY. Helen Frankenthaler (American, 1928–2011). Grove, 1991. Ten-color woodcut. 38 ½ x 25 ½ in. (97.8 x 64.8 cm.). © 2023 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), NY / Garner Tullis, NY. Roy Lichtenstein (American, 1923–1997). Storming the Castle, 1950. Etching, aquatint, and engraving. Sheet: 16 ¼ x 22 ¾ in. (41.3 x 57.8 cm.); plate: 11 7/8 x 15 15/16 in. (30.2 x 40.5 cm.). © Estate of Roy Lichtenstein. Roy Lichtenstein (American, 1923–1997). Published by Gemini G.E.L. The Student, from the series Expressionist Woodcut, 1980. Color woodcut with debossing. Sheet: 97.5 x 86 cm. (38 1/4 x 34 in.); image: 80.6 x 69.2 cm. (31 3/4 x 27 1/4 in.). © Estate of Roy Lichtenstein. Frank Stewart (American, born 1949). Alma W. Thomas, 1976. Gelatin silver print. Bowdoin College Museum of Art, Brunswick, Maine, Museum Purchase, Gridley W. Tarbell II Fund. © Frank Stewart. Frank Stewart (American, born 1949). The Bow, Modena, Italy, 1996. Inkjet print. Andre Kimo Stone Guess and Cheryl Peterson Guess Family Collection, Louisville, KY. © Frank Stewart. Frank Stewart (American, born 1949). Tailor Shop, Abidjan, Cote d'Ivoire, 1974. Gelatin silver print. Sing Lathan and Bining Taylor. © Frank Stewart. Frank Stewart (American, born 1949). Three Young Camels, Mali, 2006. George Nelson Preston, Museum of Art and Origins, New York. © Frank Stewart. Frank Stewart (American, born 1949). Radio Players Series, 1978. Gelatin silver print. Sing Lathan and Bining Taylor. © Frank Stewart. USEFUL LINKS: Link to Frank Stewart exhibition at the Phillips Collection: https://www.phillipscollection.org/event/2023-06-10-frank-stewarts-nexus YouTube video with Ruth Fine and TK Smith in the exhibition The Art of Larry Day: https://youtu.be/Ao6Rgn6jhok YouTube video of Ruth Fine's talk on Larry Day at the Woodmere Art Museum: https://youtu.be/MamE6rbOuMg

In Platemark s3e29, host Ann Shafer speaks with April Vollmer, an artist working in mokuhanga (Japanese color woodblock printing), who also wrote the indispensable guide to that form: Japanese Woodblock Print Workshop (Berkeley: Watson-Guptill Publications, 2015). What's mokuhanga, you ask? It's a method developed in Japan that was used to print images that are probably familiar to you, like Hokusai's Great Wave. It allows artists to work with water-based inks (more environmentally friendly) on multiple blocks to build up images, which are printed by hand using a flat paddle called a baren. Each color is carried on a separately carved block and is layered during printing. It means a lot of carving, but it also means one doesn't need a press, chemicals, or a ton of equipment. In other words, it can be done at home in your kitchen. The range of work made possible in mokuhanga is impressive. Once used for ukiyo-e prints (pictures of the floating world) in the Edo period, now contemporary artists from the world over are experimenting with its possibilities. Including April Vollmer. Episode image: Portia Shao Shiko Munakata (Japanese, 1903–1975). Night Birds (the fence of…), c. 1967. Sumizuri-e. 19.1 x 29.3 cm. Scholten Japanese Art, New York. April Vollmer in her studio. April Vollmer's studio. Yasu Shibata (Japanese, born 1968). 6 White Squares, 2014. Set of six mokuhanga prints. Sheet (each): 11 x 11 in. Aspinwall Editions, Hudson. Tetsuya Noda (Japanese, born 1940). Diary: April 24th '97, 1997. Woodblock and screenprint. Sheet: 74.1 x 52.8 cm. British Museum, London. Keiko Hara (Japanese, born 1942). Published by Lily Press. Verse Space—Light of Black Hole, Monotype with collaged mokuhanga woodblock print. Sheet: 30 x 26 in. Rebecca Salter (British, born 1955). Into the Light II, 2011. Woodblock on Japanese paper. 60 x 90 cm. (23 ½ x 35 ½ in.). Utagawa Kuniyoshi (Japanese, 1797–1861). Earth Spider Attacking Raiko, c. 1820. Color woodblock print. 14 5/8 x 29 5/8 in. Fuji Arts, Ann Arbor. April Vollmer (American, born 1951). Generation, 2002. Mokuhanga on washi. Sheet: 26 x 26 in. Beyshehir Seljuk rug, 13th century Turkey. Found in the Eshrefoglu Mosque in Beyshehir in 1929 by R.M. Riefshahl. Now in the Konya Museum of Ethnography, Konya, Turkey. April Vollmer (American, born 1951). Blackout, 2013. Mokuhanga on Gozen washi. Sheet: 38 x 26 in. April Vollmer (American, born 1951). Eye Cup (Counterfeit), 2008. Mokuhanga and rubber stamp on washi. Sheet: 26 x 11 in. April Vollmer (American, born 1951). Secret Flower, 2006. Mokuhanga. Sheet: 15 ½ x 15 ½ in. April Vollmer (American, born 1951). Migrating Gyre, 2008. Mokuhanga. Sheet: 26 x 26 in. April Vollmer (American, born 1951), printed by Art Print Residence and published by California Society of Printmakers. Great Egret Hunting, from the portfolio Birds on the Edge, 2021. Photo-etching. Sheet: 19 ½ x 15 in. USEFUL LINKS April's website: https://www.aprilvollmer.com/ Mokuhanga resources: https://www.aprilvollmer.com/category/mokuhanga-resources/ April's Facebook: https://www.facebook.com/april.vollmer April's Instagram: https://www.instagram.com/aprilvollmer_artist/ April Vollmer. Japanese Woodblock Print Workshop: A Modern Guide to the Ancient Art of Mokuhanga. New York: Penguin Random House, 2015. https://www.penguinrandomhouse.com/books/231579/japanese-woodblock-print-workshop-by-april-vollmer/ April Vollmer. "Birds on the Edge: Collaboration and Change." The California Printmaker: The Journal of the California Society of Printmakers. (2023 Changing Gears Edition) April 2023. https://www.aprilvollmer.com/wp-content/uploads/2023/04/CSP-Birds-on-the-Edge-Vollmer.pdf Nature in the Floating World: Images of Nature in Japanese and Chinese Art. Ulrich Museum of Art, Wichita State University. January 26–May 10, 2023. https://ulrich.wichita.edu/ulrich_exhibition/nature-in-the-floating-world-images-of-nature-in-japanese-and-chinese-art-from-the-ulrich-collection/ International Mokuhanga Conference website https://2021.mokuhanga.org/ International Mokuhanga Conference YouTube channel https://www.youtube.com/channel/UCthTUa5XbGaZsaFf_vDeosg Tuula Moilanen, Kari Laitinen, and Antti Tantuu. The Art and Craft of Woodblock Printmaking. Helsinki: Aalto ARTS Books, 2013. https://www.amazon.com/Art-Craft-Woodblock-Printmaking-Watercolour/dp/B01FIWQXL4 Frogman's Workshop http://frogmans.net/#workshops Anderson Ranch https://www.andersonranch.org/ Kentler International Drawing Space, Red Hook https://kentlergallery.org/ 11 Women of Spirit Part 7. Salon Zürcher, New York. May 15–21, 2023. https://www.galeriezurcher.com/salon-zrcher-28th-edition-11-women-of-spirit-part-7-may-15-21

In s3e28, Platemark host Ann Shafer speaks with Linda Hults, retired professor of art history from the College of Wooster, Wooster, Ohio. Linda wrote THE textbook on the history of Western prints, which any student of the topic will undoubtedly still have on their shelves. At nearly 1,000 pages, the book offers up more than 800 illustrations and covers print history from Gutenberg through the early 1980s. It also includes incredibly thorough notes, bibliography, glossary, and index. It is indispensable. Since retirement, Linda continues to contribute to the field essays and articles ranging in subjects from the devil and witchcraft to masculinity. Episode image by Linda Hults. Parmigianino (Italian, 1503–1540). Madonna and Child with Angels (Madonna with the Long Neck), c. 1534–40. Oil on panel. 216.5 x 132.5 cm. Uffizi Gallery, Florence. Johannes Vermeer (Dutch, 1632–1675). Woman Writing a Letter, with her Maid, c. 1670. Oil on canvas. 71.1 x 60.5 cm. National gallery of Ireland, Dublin. Hendrick Goltzius (Dutch, 1558–1617). The Great Hercules, 1589. Engraving. Sheet (trimmed to platemark): 21 7/8 x 15 7/8 in. (555 x 404 mm.). Metropolitan Museum of Art, New York. Thomas Rowlandson (British, 1557–1827). The Devil's Darling, March 12, 1814. Etching with hand coloring. Plate: 13 3/4 × 9 3/4 in. (34.9 × 24.8 cm.); sheet: 14 3/4 × 10 7/16 in. (37.4 × 26.5 cm.). Metropolitan Museum of Art, New York. Félicien Rops (Belgian, 1833–1898). The Sacrifice, drawing for Plate 1 of Les Sataniques, c. 1882. Tempera, colored pencil, black crayon, gouache, and gold on Pellée paper. 30 x 19.1 cm. (11 3/4 x 7 1/2 in.). Galerie Patrick Derom, Brussels (sold). Frans Francken the Younger (Flemish, 1581–1642). Witches' Sabbath, 1606. Oil on oak panel. 62 x 51 cm. Victoria and Albert Museum, London. Salvator Rosa (Italian, 1615–1673). Scenes of Witchcraft: Day, c. 1645–49. Oil on canvas. 54.5 cm. (21 7/16 in.) The Cleveland Museum of Art, Cleveland. Hieronymus Bosch (Netherlandish, 1450–1516). The Garden of Earthly Delights, 1490–1500. Oil on wood (triptych). Overall: 328.2 x 185.8 cm. Museo del Prado, Madrid. Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving. 25.1 x 20 cm (9 7/8 x 7 7/8 in). Metropolitan Museum of Art, New York. Édouard Manet (French, 1832–1883). Le Déjenuer sur l'herbe, 1863. Oil on canvas. 208 x 264.5 cm. Musée d'Orsay. Paris. USEFUL LINKS Linda C. Hults. The Print in the Western World: An Introductory History. Madison. University of Wisconsin Press, 1996. Hyatt Mayor. Prints and People: A Social History of Printed Pictures. New York: Metropolitan Museum of Art, 1971. Arthur M. Hind. A History of Engraving and Etching from the 15th Century to the Year 1914. London: Constable and Company Ltd., 1923. (Available from Dover Publications in a 3rd edition, 1963.) William M. Ivins, Jr. Prints and Visual Communication. Boston, The MIT Press, 1969. Linda C. Hults. "Van Mander's Protean Artist: Hendrick Goltzius, Mythic Masculinity and Embodiment." Art History, Vol. 44, No. 2 (April 2021), pp. 372–402. James Watrous. A Century of American Printmaking: 1880–1980. Madison: University of Wisconsin Press, 1984. Per Faxneld. Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture. Oxford: Oxford University Press, 2017. Linda C. Hults. The Witch as Muse: Art, Gender, and Power in Early Modern Europe. Philadelphia: University of Pennsylvania Press, 2011. Laurinda S. Dixon. Alchemical Imagery in Bosch's Garden of Delights. Ann Arbor: University of Michigan Research Press, 1981. Todd W. Reeser. Masculinities in Theory: An Introduction. 2nd edition. Hoboken: Wiley-Blackwell Press, 2023. Jun Nakamura. Macho Men: Hypermasculinity in Dutch & American Prints. Philadelphia Museum of Art, August 27, 2022–March 20, 2023.

In Platemark s3e27, host Ann Shafer talks with Emma Nishimura, an artist and professor based in Toronto. Emma works in printmaking, photography, sculpture, and installation. Her work addresses ideas of inherited memory and trauma with a specific focus on the experiences her family and thousands of other Japanese Canadians endured during and following their forced incarceration during the Second World War. Episode image: Ann Gaby-Trotz. Emma Nishimura (Canadian, born 1982). Blending In, 2008. Photogravure and thread. 14 x 14 x 1 in. Courtesy of the artist. Emma Nishimura (Canadian, born 1982). Kay age 17, 1937, 2017. Photoetching on flax and abaca. 3 x 3 x 2.5. Courtesy of the artist. Furoshiki forms. Three furoshiki forms from Rememory project on a shelf. [INSTALLATION VIEW] Emma Nishimura: Rememory: Echoes and Archives. United Contemporary, Toronto. March 30–May 6, 2023. Emma Nishimura (Canadian, born 1982). Keo Shibatani, 2018. Etching and hand painting on gampi with wax. Sheet: 17 x 22 in. Courtesy of the artist. [DETAIL] Emma Nishimura (Canadian, born 1982). Keo Shibatani, 2018. Etching and hand painting on gampi with wax. Sheet: 17 x 22 in. Courtesy of the artist. [INSTALLATION VIEW] Emma Nishimura (Canadian, born 1982). Constructed Narratives. Japanese Canadian Cultural Centre, Toronto, ON. 2015. Courtesy of the artist. Emma Nishimura (Canadian, born 1982). Revelstoke, 2013. Etching on gampi with wax and thread. Sheet: 15 ½ x 9 ½ in. Courtesy of the artist. [DETAIL] Emma Nishimura (Canadian, born 1982). Revelstoke, 2013. Etching on gampi with wax and thread. Sheet: 15 ½ x 9 ½ in. Courtesy of the artist. Emma Nishimura (Canadian, born 1982). Slocan Lake, 2013. Etching on gampi with wax and thread. 25 ½ x 15 in. Courtesy of the artist. [DETAIL] Emma Nishimura (Canadian, born 1982). Slocan Lake, 2013. Etching on gampi with wax and thread. 25 ½ x 15 in. Courtesy of the artist. Michael Waugh (American, born 1967). Citizens United, 2020. Pen and black ink on Mylar. 45 x 69 in. (114.3 x 175.3 cm.). Courtesy Von Lintel Gallery. [DETAIL] Michael Waugh (American, born 1967). Citizens United, 2020. Pen and black ink on Mylar. 45 x 69 in. (114.3 x 175.3 cm.). Courtesy Von Lintel Gallery. Emma Nishimura (Canadian, born 1982). Printed by Atelje Larsen, Helsingborg, Sweden. Generational Echoes IV, 2019. Photoetching on Hahnemuhle paper. Sheet: 23 x 28 in. Courtesy of the artist. Zarina (American, born India, 1937–2020). Atlas of My World (Six Works), 2001. Portfolio of 6 woodcuts. Sheet (each): 25 ½ x 19 ½ in. (64.8 x 49.5 cm.). Metropolitan Museum of Art, New York. USEFUL LINKS Emma's website: https://www.emmanishimura.com/ Emma's Instagram: @emma.nishimura Atelje Larsen: https://www.ateljelarsen.com/ Paper Borders: Emma Nishimura and Tahir Carl Karmall. Print Center New York. October 10–December 18, 2019. https://www.printcenternewyork.org/paperborders Emma Nishimura: Rememory: Echoes and Archives. United Contemporary, Toronto. March 30–May 6, 2023. https://www.unitedcontemporary.com/exhibitions/55-emma-nishimura-rememory-echoes-and-archives/

Platemark s3e26's guest is Jennifer Mack-Watkins, an artist and children's book illustrator based in Savannah, GA. Her work looks at social conformities that limit us and box us in, whether beauty, relationships, body image, power, or gender roles. Her work often features young African-American children playing, celebrating their innocence and freedom, as well as imagination. Jennifer recently illustrated a children's book called You Gotta Meet Mr. Pierce! and she is currently on a book tour. The process of how the book came together with two authors (Chiquita Mullins Lee and Carmella Van Vleet) and an illustrator (Mack-Watkins) is fascinating. Episode photo by Miranda Barnes. Jennifer Mack-Watkins (American, born 1979). Published by Jungle Press, Brooklyn. Black Boy Hope I, 2020. Color lithograph. Sheet: 29 x 21 ½ in. | Jennifer Mack-Watkins (American, born 1979). Published by Jungle Press, Brooklyn. Black Boy Hope II, 2020. Color lithograph. Sheet: 29 x 21 ½ in. Jennifer Mack-Watkins (American, born 1979). Published by Jungle Press, Brooklyn. Space Boy, 2022. Color lithograph. Sheet: 26 x 19 in. Jennifer Mack-Watkins (American, born 1979). Published by Jungle Press, Brooklyn. Space Girl, 2022. Color lithograph. Sheet: 26 x 19 in. Jennifer Mack-Watkins signing Space Girl at Jungle Press, Brooklyn. Penland School of Craft: https://penland.org/ Jackie Winsor (Canadian, born 1941). #1 Rope, 1976. Wood and hemp. 40 1/4 × 40 × 40 in. (102.2 × 101.6 × 101.6 cm.). San Francisco Museum of Modern Art, San Francisco. Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023. Title page from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023. Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023. Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023. Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023. Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023. Spread from Jennifer Mack-Watkins (illustrator) and Chiquita Mullins Lee and Carmella Van Vleet (authors). You Gotta Meet Mr. Pierce!. New York: Penguin Random House, 2023. Jennifer Mack-Watkins reading to children at Woodrow Wilson Elementary School, New Brunswick, NJ, 2023. Installation view of Children of the Sun, a solo exhibition by Jennifer Mack-Watkins at Brattleboro Museum and Art Center, Brattleboro, VT, 2021. Photo by Erin Jenkins. Installation view of Children of the Sun, a solo exhibition by Jennifer Mack-Watkins at Brattleboro Museum and Art Center, Brattleboro, VT, 2021. Photo by Erin Jenkins. Installation view of Children of the Sun, a solo exhibition by Jennifer Mack-Watkins at Brattleboro Museum and Art Center, Brattleboro, VT, 2021. Photo by Erin Jenkins. Jennifer Mack-Watkins in the exhibition curated by Nicole Simpson at the Zimmerli Museum, Rutgers University, New Brunswick, NJ, 2023. Jennifer Mack-Watkins in the exhibition at Sulfur Studios, Savannah, 2023. April Vollmer. Japanese Woodblock Print Workshop: A Modern Guide to the Ancient Art of Mokuhanga. New York: Penguin Random House, 2015. Jennifer Mack-Watkins, Chakaia Booker, and Laura Einstein at The Gallery at The Met Store. Sun Ra's 1974 film, Space is the Place. Jennifer Mack-Watkins (American, born 1979). Future Undetermined, from the portfolio Continuum by Black Women of Print, 2019. Color woodblock (mokuhanga) and screenprint. Sheet: 11 x 15 (27.9 x 38.1 cm.). Metropolitan Museum of Art, New York. Installation shot, Alternate Realities, curated by Ann Shafer at the Baltimore Museum of Art, September 21, 2014–April 12, 2015. USEFUL LINKS Jennifer's website: www.jennifermwatkins.com Jennifer's Instagram accounts: @mack_jenniferprints and @mwatkins_jenniferillustrate RECENT PRESS COVERAGE Jennifer Mack-Watkins: Creating a future without limitations for children of the sun – Connect Savannah, May 2, 2023. Inspired By Vermonter's 1890s Poem, Artist Celebrates Positive Black Representation – VPR, April 3, 2021. 11 Must-See Black Art Exhibitions Opening This Spring – Essence, March 24, 2021. 9 Art Exhibitions Worth Masking Up for This Spring – Vogue, March 19, 2021. Celebrating Black Children in America – The New York Times, March 8, 2021. MORE USEFUL LINKS (those discussed in the episode) Janson's History of Art textbook: https://www.abebooks.com/servlet/BookDetailsPL?bi=31225288586&ref_=ps_ggl_11147913055&cm_mmc=ggl-

Platemark s3e25's guest is Michael Barnes, an artist and professor at Northern Illinois University who specializes in lithography. In addition to deep knowledge of how lithography works, Michael is also an historian of the technique and a collector. Michael's prints are set in strange desolate lands and feature figures engaged in absurd tasks. While these surreal visions come straight from the artist's imagination, workers trapped in a farcical dystopian future is something to which we can all relate. Michael's spot-on compositions and consummate draftsmanship make these odd circumstances and their cognitive dissonance crystal clear. Ann was extra interested in talking with Michael because he, obviously, knows what he's doing with lithography and she hoped to get an in-depth explanation of the process. In addition, he also is an historian of the technique and a collector as well. Settle back and enjoy the conversation as they geek out about all things litho. Franz Hanfstaengl (German, 1804–1877). Portrait of Alois Senefelder, 1834. Lithograph. Mozart Sheet Music Bolton Brown (American, 1834–1936). Recipes from his Lithography for Artists manual, 1930. June Wayne (American, 1918–2011) at Tamarind Lithography Workshop, c. 1960. (Center for Southwest Research, University Libraries, University of New Mexico) Wayne Kimball (American, born 1943). Marble Chair, 1973. Lithograph. Image: 6 ½ x 9 in. Madison Museum of Contemporary Art, Madison. Max Beckmann (German, 1884–1950). Throwing Dice before the Cross, from the series Six Lithographs to the New Testament, 1911. Lithograph. Image: 11 9/16 x 9 7/16 in. (29.4 x 24 cm.); sheet: 22 11/16 x 16 5/16 in. (57.7 x 41.5 cm.). Museum of Modern Art, New York. Georges Rouault (French, 1871–1958). Charles Baudelaire, 1926. Lithograph. Image: 8 ¼ x 6 3/8 in.; sheet: 10 ¾ x 6 ¾ in. Davidson Galleries, Seattle. Eugène Delacroix (French, 17987–10863). Mephistopheles, from Goethe's Faust. Paris: Charles Motte, 1928. Lithograph. Sheet: 16 13/16 x 18 5/8 in. Metropolitan Museum of Art, New York. David Becker (American, born 1937). Crosspaths, 1984. Etching and aquatint. Sheet: 22 1/4 × 29 3/4 in. (56.5 × 75.6 cm.); plate: 12 3/4 × 18 3/4 in. (32.4 × 47.7 cm.). Metropolitan Museum of Art, New York. Evan Summer (American, born 1948). Landscape XXXIV, 1998. Etching, aquatint, engraving, and drypoint. Sheet: 79.59 × 66.99 cm. (31 5/16 × 26 3/8 in.); plate: 69.53 × 59.06 cm. (27 3/8 × 23 1/4 in.). National Gallery of Art, Washington, D.C. Diane Victor (South African, born 1964). Printed by Bandolier Press, University of Northern Illinois. The Awakening, 2018. Lithograph. Sheet: 76.5 x 112.5 cm. (30 1/8 x 44 3/8 in.). Mutual Art. Josef Budka (Polish, born 1953). The Cloud, from the series Dream, 1985. Lithograph. 50 x 70 cm. Courtesy the artist. Ericka Walker (American, born 1941). Overly Optimistic, 2022. Lithograph. Sheet: 38 x 22 in. Courtesy the artist. Tom Huck (American, born 1971). Classic American Head Job, 1998. Woodcut. 20 x 24 in. Courtesy the artist. Old Milwaukee beer labels on lithograph stone in Michael Barnes' studio. Edouard Manet (French, 1832–1883), published by Lemercier et Cie. Civil War, 1871–73. Lithograph on chine collé. Image: 15 5/8 × 20 in. (39.7 × 50.8 cm.); sheet: 19 1/8 × 24 3/4 in. (48.6 × 62.9 cm.). Metropolitan Museum of Art, New York. Michael Barnes (American, born 1969). Some Things are Best Forgotten, from the series Steindruck München, 2020. Lithograph. Image: 20 × 17 in. (50.8 × 43.2 cm.); sheet: 22 1/2 × 19 1/2 in. (57.2 × 49.5 cm.). Courtesy the artist. Michael Barnes (American, born 1969). Breaking of Stones, from the series Steindruck München, 2020. Lithograph. Image: 17 x 19 ½ in.; sheet: 19 ½ x 22 in. Courtesy the artist. Rodolphe Bresdin (French, 1822–1885). The Good Samaritan, 1861. Lithograph on chine collé. Image: 22 3/16 x 17 3/8 in. (56.4 x 44.2 cm.); sheet: 27 15/16 x 22 1/16 in. (71 x 56 cm.). Museum of Modern Art, New York. Rodolphe Bresdin (French, 1822–1885). The Good Samaritan, 1861. Lithograph. Image: 22 1/4 x 17 1/4 in. (56.5 x 43.8 cm.). Sterling and Francine Clark Art Institute, Williamstown. [DETAIL without bird] Rodolphe Bresdin (French, 1822–1885). The Good Samaritan, 1861. Lithograph. Image: 22 1/4 x 17 1/4 in. (56.5 x 43.8 cm.). Sterling and Francine Clark Art Institute, Williamstown. [DETAIL with bird] Rodolphe Bresdin (French, 1822–1885). The Good Samaritan, 1861. Lithograph on chine collé. Image: 22 3/16 x 17 3/8 in. (56.4 x 44.2 cm.); sheet: 27 15/16 x 22 1/16 in. (71 x 56 cm.). Museum of Modern Art, New York. Robert Rauschenberg (American, 1925–2008). Published by Universal Limited Art Editions; printed by Robert Blackburn. Accident, 1963. Lithograph. 41 1/4 x 29 1/2 inches (104.8 x 74.9 cm). Robert Rauschenberg Foundation. Carl Straub (German, active 1840s), artist; Franz Hanfstängl (German, 1804–1877), publisher; after a painting by Franz Snyders (Flemish, 1579–1657). Bear Hunt (Baerenhatze), from the series Königlic

In s2e28, hosts Ann Shafer and Tru Ludwig conclude their two-part conversation about Claude Mellan. An encounter with Mellan's best-known work, The Holy Face of Christ on St. Veronica's Sudarium, is to be a witness to greatness. The engraving is an extraordinary feat by Claude Mellan and is a high-water mark in the history of prints. The artist had a magical ability to create an image of unparalleled pathos and intricacy using a single spiraling line. In this episode, Tru and Ann talk about this miraculous engraving along with a few other goodies. Get ready for an engaging discussion with Tru as they explore the depths of Mellan's remarkable work, uncovering the artist's mastery of technique and vision. And be prepared, they flung a few f-bombs about here and there. Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis. [Details are at the bottom.] Reinis Gailitis (Latvian, born 1992). A perfect spiral cut with a burin in copper. Robert Nanteuil (French, 1623–1678). Marin Cureau de La Chambre, c. 1656. Engraving. Sheet (trimmed to platemark): 10 × 7 11/16 in. (25.4 × 19.6 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Title Page : Le Code Louis XIV, 1667. Engraving. Sheet (trimmed to platemark): 8 1/16 x 5 3/8 in. (20.5 x 13.7 cm.). Metropolitan Museum of Art, New York. Gian Lorenzo Bernini (Italian, 1598–1680). Bust of Louis XIV, 1665. Marble. Palace of Versailles. Robert Nanteuil (French, 1623–1678). Louis XIV, 1686. Engraving. RMN-Grand Palais Domaine de Chantilly. Hyacinth Rigaud (French, 1659–1743). Louis VIX, 1700–01. Oil on canvas. 277 x 194 cm. (109 x 76 3/8 in.) The Louvre, Paris. Johann Zoffany (German, 1733–1810). The Academicians of the Royal Academy, 1771–72. Oil on canvas. 101.1 x 147.5 cm. Royal Collection Trust. Pietro Antonio Martini (Italian, 1738–1797), after Johann Heinrich Ramberg (German, 1763–1840). Exposition au Salon du Louvre en 1787, 1787. Etching and engraving. Plate : 12 11/16 x 19 5/16 in. (32.2 x 49.1 cm.); sheet: 14 x 19 3/4 in. (35.6 x 50.2 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Moses Before the Burning Bush, 1663. Engraving. Sheet (trimmed to platemark): 9 7/16 x 13 3/16 in. (24 x 33.5 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Adam and Eve at the Foot of the Cross, c. 1647. Engraving. Sheet (trimmed to platemark): 15 3/8 x 22 5/8 in. (39 x 57.4 cm.). Metropolitan Museum of Art, New York. Nicolas Poussin (French, 1594–1665). The Abduction of the Sabine Women, c. 1633–34. Oil on canvas. 60 7/8 x 82 5/8 in. (154.6 x 209.9 cm.). Metropolitan Museum of Art, New York. Guillaume Chasteau (French, 1635–1683), after Nicolas Poussin (French, 1594–1665). The Death of Germanicus, 1663. Engraving. Sheet : 43.9 x 53.7 cm. The British Museum, London. Raphael (Italian, 1483–1520). School of Athens. Stanza della Segnatura, 1509–11. Fresco wall painting. The Vatican. Peter Paul Rubens (Flemish, 1577–1640). The Consequences of War, 1637–38. Oil on canvas mounted to panel. 206 x 342 cm. (81 x 134 ½ in.). Palazzo Pitti, Florence. Claude Lorrain (French, 1604/05–1682). Pastoral Landscape, 1638. Oil on canvas. 51.1/4 x 38 ¼ in. Minneapolis Institute of Art, Minneapolis. Claude Lorrain (French, 1604/05–1682). The Country Dance (Large Plate), c. 1637. Etching. Sheet: 8 1/4 x 10 9/16 in. (21 x 26.9 cm.) ; plate: 7 7/8 x 10 3/8 in. (20 x 26.3 cm.). Metropolitan Museum of Art, New York. Claude Lorrain (French, 1604/05–1682). A Seaport, 16454. Oil on canvas. 103 x 131 cm. National Gallery, London. Claude Lorrain (French, 1604/05–1682). Harbor Scene with Rising Sun, 1634. Etching. Sheet: 5 9/16 x 8 1/4 in. (14.1 x 21 cm.); plate: 5 1/8 x 7 13/16 in. (13 x 19.8 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Death of Adonis, 1636–62. Engraving. Sheet (trimmed near platemark): 8 7/16 x 12 in. (21.5 x 30.5 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Classical Statue of Seated Woman (Mnemosyne), c. 1670. Engraving. Plate: 15 3/4 x 11 7/16 in. (40 x 29 cm.) ; sheet: 21 1/8 x 14 ¾ in. (53.6 x 37.5 cm.). Philadelphia Museum of Art, Philadelphia. Claude Mellan (French, 1598–1688). Philosophy Thesis of Guillaume de Longueil, 1618–88. Engraving. Sheet (trimmed near platemark): 44.2 x 58.9 cm. National Gallery of Canada, Ottawa. Claude Mellan (French, 1598–1688). Full Moon, 1635. Engraving. Sheet (trimmed near platemark): 9 3/4 x 8 9/16 in. (24.8 x 21.7 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). The Moon in its First Quarter, 1635. Engraving. Plate: 9 3/16 × 6 7/8 in. (23.3 × 17.5 cm.); sheet: 9 3/8 × 7 1/8 in. (23.8 × 18.1 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). The Moon in its Final Quarter, 1635. Engr

In s3e24, host Ann Shafer speaks with Steve Goddard, curator emerita from the Spencer Museum of Art at the University of Kansas in Lawrence. Steve's specialty is prints of northern Europe (1450–present), although he has been known to stray into the graphic arts of the World War One era, as well as prints that sit at the intersection of art and the biological sciences. I'm sharing some of his favorite prints here. A beloved educator, Steve has inspired generations of students with his engaging and insightful approach to teaching. His connoisseurship and history of prints classes are legendary. Platemark listeners will have heard several guests remark on Steve's passion and energy for print lore. In fact, he is that particular professor for many people—the one that got them into art history. Now retired and living in Estes Park, CO, Steve continues to research and write on favorite topics, and he is making prints himself. Steve Goddard and Dick Field deeply looking at John Martin's The Assuaging of the Waters, 1840, at the Legion of Honor Museum, Fine Arts Museums of San Francisco, during a Print Council of America conference, 2018. Photo by Nadine Orenstein. After Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1559. Engraving. Sheet (trimmed to platemark): 113 x 73 mm. (4 7/16 x 2 7/8 in.). Spencer Museum of Art, University of Kansas, Lawrence. Marcantonio Raimondi (Italian, c. 1470 or 1482–1534), after Albrecht Dürer (German, 1471–1528). The Angel Brings the Message to Joachim, from the series Life of the Virgin, 1506. Engraving. Sheet (trimmed to platemark): 196 x 216 mm. (11 5/8 x 8 ½ in.). Spencer Museum of Art, University of Kansas, Lawrence. Hendrick Goltzius (Dutch, 1558–1617). The Circumcision, from the series The Birth and Early Life of Christ, 1594. Engraving. Plate: 18 1/4 x 13 13/16 in. (464 x 351 mm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). The Circumcision, from the series The Life of the Virgin, c. 1504. Woodcut. Sheet: 17 3/16 x 11 15/16 in. (437 x 303 mm.); image: 11 11/16 x 8 1/8 in. (297 x 206 mm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Etching and engraving. Sheet (trimmed within platemark): 17 3/8 × 12 5/16 in. (441 × 312 mm.). Metropolitan Museum of Art, New York. Federico Barocci (Italian, 1528–1612). The Annunciation, c. 1585. Oil on wood transferred to canvas. 248 x 170 cm. (97 1/5 x 66 in.). Vatican Art Pinacoteca, Vatican City. Melchior Lorck (German, 1527–after 1583). The Mole, 1548. Engraving. Sheet (trimmed to platemark): 710 x 106 mm. Helmut Rumbler, Frankfurt. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Ixion, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 5/8 x 13 7/16 in. (34.6 x 34.1 cm). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Icarus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 7/16 x 13 1/4 in. (34.2 x 33.7 cm). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Phaeton, from the series The Four Disgracers, 1588. Engraving. Sheet: 335 x 335 mm (13 3/16 x 13 3/16 in.). Metropolitan Museum of Art, New York. Hendrick Goltzius (Dutch, 1558–1617). After Cornelis Cornelisz van Haarlem (Netherlandish, 1562–1638). Tantalus, from the series The Four Disgracers, 1588. Engraving. Sheet: 13 1/4 x 13 1/4 in. (33.6 x 33.6 cm). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). St. Jerome in His Study, 1514. Engraving. Sheet (trimmed to platemark): 241 x 186 mm. (9 ½ x 7 5/16 in.). Spencer Museum of Art, University of Kansas, Lawrence. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 245 x 189 mm. (9 5/8 x 7 7/16 in.). Spencer Museum of Art, University of Kansas, Lawrence. Albrecht Dürer (German, 1471–1528). Melencolia I, 1514. Engraving. Sheet (trimmed to platemark): 9 7/16 × 7 5/16 in. (240 × 185 mm.). Metropolitan Museum of Art, New York. Johan Wierix (Netherlandish, 1549–1615), after Albrecht Dürer (German, 1471–1528). Melencolia, 1602. Engraving. Sheet (trimmed to platemark): 242 x 182 mm. (9 ½ x 7 1/8 in.). Spencer Museum of Art, University of Kansas, Lawrence. Rembrandt (Dutch, 1606–1669). The Three Crosses (iv/v state), 1653. Drypoint. Sheet (trimmed to platemark): 389 x 456 mm. (15 ¼ x 17 15/16 in.). Spencer Museum of Art, University of Kansas, Lawrence. After Rembrandt (Dutch, 1606–1669). The Three Crosses (iii/v state), c. 1660. Heliogravure or photogravure. Image: 381 × 451 mm. (15 x 17 ¾); sheet: 393 x 461 mm. (15 1/2 × 18 1/8 in.). Spencer Museum of Art, University of Kansas, Lawrence. Dirk Vellert (Netherlandish, c. 1480–1547). Drummer with a Child Holding a Hoop, 1523. Etching. Sheet (t

In s2e27, hosts Ann Shafer and Tru Ludwig begin a two-part conversation about Claude Mellan, who engraved the most astonishing portrait of Jesus Christ in the history of art. In fact, if it weren't for his print of the Holy Face on the Sudarium, Mellan may have dropped out of sight. But, he is worth looking at. He brought something to portraiture that is worth noting: a humanity and tenderness that one might think impossible to capture in engraving. Sir Anthony van Dyck (Flemish, 1599–1641). Self-Portrait (early state), from the series Iconography, 1628/41. Etching. Sheet (trimmed near platemark): 9 1/2 × 6 1/8 in. (24.1 × 15.6 cm). Metropolitan Museum of Art, New York. Sir Anthony van Dyck (Flemish, 1599–1641). Self-Portrait, from the series Iconography, 1628/41. Etching and engraving. Plate: 9 5/8 × 6 3/16 in. (24.4 × 15.7 cm). National Gallery of Art, Washington, D.C. Sir Anthony van Dyck (Flemish, 1599–1641). Lucas Vorsterman, from the series Iconography, 1628–32. Etching and engraving. Sheet (trimmed to platemark): 9 5/8 × 6 3/16 in. (24.4 × 15.7 cm). Museum of Fine Arts, Houston. Giorgio Vasari (Italian, 1511–1574). Titlepage from Lives of the Artists (2nd edition), 1568. Claude Mellan (French, 1598–1688). Self-Portrait, 1635. Engraving. Sheet: 9 x 6 1/4 in. (22.8 x 15.9 cm.); plate: 8 11/16 x 6 in. (22.1 x 15.3 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Delilah Cutting Samson's Hair, 1618–88. Engraving. Sheet: 7 9/16 x 5 3/8 in. (19.2 x 13.7 cm.); plate: 6 5/8 x 4 1/2 in. (16.8 x 11.4 cm.). Metropolitan Museum of Art, New York. Abraham Bosse (French, 1602/04–1676). Portrait of Jacques Callot, c. 1636. Etching with engraving. Sheet: 10 1/4 x 6 in. (26 x 15.3 cm.); plate: 9 3/4 x 5 1/2 in. (24.8 x 14 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Theological Thesis of Antoine Talon, 1648. Etching. Sheet: 20 3/16 x 22 3/4 in. (51.2 x 57.8 cm.); plate: 19 1/2 x 22 1/16 in. (49.5 x 56 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Samson and Delilah, late 1620s. Oil on canvas. 49 3/5 x 69 9/10 (126 x 177.5 cm.). Robilant+Veona, London. Claude Mellan (French, 1598–1688), after Simon Vouet (French, 1590–1649). Charitas romana, after 1624. Engraving. Sheet (trimmed near platemark) : 374 x 286 mm. National Gallery, Prague. Attributed to Simon Vouet (French, 1590–1649). Charitas romana, 1610–88. Oil on canvas. 95 x 73 cm. (37 3/8 x 28 ¾ in.) Artsy. Simon Vouet (French, 1590–1649). Charitas romana, 1610–88. Oil on canvas. 80 x 63 cm. (31 3/8 x 28 ¾ in. National Museum, Warsaw. Claude Mellan (French, 1598–1688). Girolamo Frescobaldi, 1619. Engraving. Sheet (trimmed within platemark): 13.1 x 9.9 cm. (5 3/16 x 3 7/8 in.). National Gallery of Art, Washington, D.C. [DETAIL] Claude Mellan (French, 1598–1688). Girolamo Frescobaldi, 1619. Engraving. Sheet (trimmed within platemark): 13.1 x 9.9 cm. (5 3/16 x 3 7/8 in.). National Gallery of Art, Washington, D.C. Claude Mellan (French, 1598–1688). Virginia de Vezzo, 1626. Engraving. Sheet (trimmed to platemark) : 250 x 95 mm. National Gallery, Prague. [DETAIL] Claude Mellan (French, 1598–1688). Virginia de Vezzo, 1626. Engraving. Sheet (trimmed to platemark) : 250 x 95 mm. National Gallery, Prague. Claude Mellan (French, 1598–1688). Louis XIV as a Child, 1618–1688. Engraving. Sheet (trimmed to platemark): 13 9/16 x 9 1/2 in. (34.5 x 24.2 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Maddalena Corvina, 1636. Engraving. Plate: 11.7 x 8.5 cm. (4 5/8 x 3 3/8 in.); sheet: 12.8 x 9.9 cm. (5 1/16 x 3 7/8 in.). National Gallery of Art, Washington, D.C. Claude Mellan (French, 1598–1688). Charles I de Crequi, Duke of Lesdiguières, 1633. Engraving. Sheet (trimmed within platemark): 24.5 x 18.9 cm. (9 5/8 x 7 7/16 in.). National Gallery of Art, Washington, D.C. Claude Mellan (French, 1598–1688). Jean Perrault, 1652. Engraving. Sheet (trimmed within platemark): 13 9/16 x 9 7/16 in. (34.5 x 24 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Henriette-Anne d'Angleterre, duchesse d'Orléans, after 1670. Engraving. Plate: 24.2 x 18.6 cm. (9 1/2 x 7 5/16 in.); sheet: 25.9 x 19.3 cm. (10 3/16 x 7 5/8 in.). National Gallery of Art, Washington, D.C. Claude Mellan (French, 1598–1688). Henri-Louis Habert de Montmor, 1640. Engraving. Sheet: 13 9/16 x 9 3/16 in. (34.5 x 23.3 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Raffaello Menicucci, 1618–1688. Engraving. Sheet: 5 7/8 x 4 1/8 in. (15 x 10.5 cm.); plate: 5 13/16 x 4 in. (14.7 x 10.1 cm.). Metropolitan Museum of Art, New York. [DETAIL] Claude Mellan (French, 1598–1688). Raffaello Menicucci, 1618–1688. Engraving. Sheet: 5 7/8 x 4 1/8 in. (15 x 10.5 cm.); plate: 5 13/16 x 4 in. (14.7 x 10.1 cm.). Metropolitan Museum of Art, New York. Claude Mellan (French, 1598–1688). Bust of the Adult Christ, 1652. Engraving. Sheet: 17 7/16 x 12 13/16 in. (44.3 x 32.